Skip to main content

Full text of "The complete Hallowe'en book"

See other formats

GT 4165 





.v, 0 0 * ° /f o . I . I a '<£> 

C O ^ ,Cy^% ^ 

O AX A^WTft - y 

V* ° * * ^ 

0° . 

/? : 
K(f * 

*> - 

♦ Q&’rf / f/s*> ' 'V' 

</» < v" *■ /^.[\//y^^ > * ■<& ^ 'J 

o v » ^ cr ® ^ 

V ^ 0 ^ ^vfx ' 

<• rk y A tf. \,J , . )> i/V' «. < 

■» r\S c£» ■* • <1 ^ O A 

\ v ~*p. ” ' ' A U <F\ * O „ o° o 

j£| ^ ♦«»*. tj. ^ ^YSiTA.* : 

* *y * 

,s^ n : 

•64 '~ ,■>. » 

4 V 

a * 1/1*' jO 

=4 A 4? «••” 

c'O’ ♦ 

^ # • 5 4 ^ O *«• * * ,0 

^ X ^ . U / - \*> 0 , o ^ 

i'P’ t * *P y VJ o ° ” « o 

- - <<4 *J&((r777±? V* C *^?\Vw*r. o 

"fav* :£m&*\ ++# 

*° ^ « 

♦ rv <<* 


* <i> 

«. v «, v .;4'i;. v <*? » * 

r£* A v *iCftW/ 9j,° V* c!* 

; v* v :rMw 24, 

"’ -• „ «V^ 

. ** A, ° 

^y 0 '■ r 

_,,,. ^6* ?% 

, J.°t#. •^^.’ ,4*4 

* r\ «'%U\VV$> > bS «- 4 

°* -* V '* .h •* ,^ 

. ^ ^ , > 

: W 

c& V * 

Vv 0 

V * 

/ \ •.?*?•• . . ; *^‘ / \ . 

0 »4“, ^o *“ ^ .».., % *“* 0 ^ & ... ’V *'•'•• 

H* *N + JK/7Z5^ Ay- Vj ♦cs5^tv^ r O 

« x>* A’fr * Vj\ <; 1 c^v\\^* 

ff I 1 

> ^ 0 V, . 

♦ r\ </• 

A° * 

4 A v >v’,*> *> 

«Vfc. j\& ^ r»4«L^ ; 1 , ^ > ' < \~. ** A 

to ^ 

* «< V ■* <L^ '%K ^ 

>» ^V> -v 

_ < VJ O _ 

* *■' * ^ ^ o w c 

S^/rT/Z *> %, C° ctr ^' v iZ« % 

C * 



° °^ ' 

•.-.o •* ^ °o '*rr,•♦ .6 

^ V p Y * <A .0^ ^ 

^ *• (CC\kkA° c^ ♦ 

/ ^ • 

♦ ^ v- v • 

<v • 


o ‘W' 

°<u *•<’• %> '*»,o 

’°o tr ,*** ^fSV* ^ ** 

*1 ; : W 

« a V"<\ o c, ;' 4 -' V ' a> * vP 

A <V <, '°v?* A o* ^ 

L » K^~ ^ * 

ck A> Vj * A, * O ^ "C^V — A 

V ^ q.. *.,-.• 

k ^ «. ' * _• x*)>' 

° W *V 

'</* •' ’ ^k." ^ * • •» 0 0 

V a? 

• ' f <\ a ♦vskv. ■*• a 
°- ^ "W 1 

• 0.^"%. o’ 

» .V 


Complete Hallowe’en 


Elizabeth F. Guptill 


JTHERS, Publishers 
Vright Ave., Lebanon, Ohio 



I I I i 

.V : _» • ■ 


Complete Hallowe’en 

By Elizabeth F. Guptill 

A Hallowe’en Party 


Cut black cats from black cardboard. Put 
on any necessary lines with a pencil or pen. 
Make green or yellow eyes, and red mouth and 
nostrils, with paints. If the faces prove too 
difficult, draw only the back of the cat, as the 
kindergarten children do. Tie one or two pieces 
of white writing paper, cut the same shape, to 
this black cat, by means of a neck-ribbon. Write 
the invitation on the white paper. It may be as 

The Black Cat bids you come, 

Next Thursday Eve, at eight, 

Unto his Mistress’ home, 

Prepared to stay quite late. 

Your fortune will be told. 

Perhaps you’ll get a ring. 

And please do bring some stunt 
To speak or act or ->» 


Hallowe'en book. 

On the third sheet is the place. Also the 
words: “To keep Hallowe’en.” 

For a boy’s Hallowe’en party, these invita¬ 
tions would be nice: Cut pumpkins from yellow 
paper, draw Jack-o’-lantern faces on them with 
pen and ink, and on the reverse side write this 

Please be on hand on Hallowe’en. 

I’m going to have a party. 

And if you’ll dress in your school clothes. 
We’ll play real wild and hearty. 

Perhaps we’ll see the witches, 

As they sail upon their rounds! 

Please bring a Jack-o’-lantern 
To help light up the grounds. 

Every boy will be pleased to make and bring 
his Tack-o’-lantern, and they will “light up the 
grounds” with wierd effect. 

For a Ghost party, write the invitation on 
blue paper. On the first page draw a ghost in 
white ink. This is not at all difficult, as a ghost 
is simply flowing drapery, covering head and all. 
A long, skeleton arm should protrude from the 
drapery, with beckoning fingers. On the second 
page write the time and place. On the third, 
write this verse: 

The Ghosts invite you, 

On Hallowe’en, 

To the spookiest party 
Ever seen. 

Only ghosts are admitted— 

Remember well; 

And come all prepared your sad 
° -- *o tell. 

Hallowe’en book. 


For a child’s party, use red paper cut in the 
shape of apples. A line or two in ink, will be 
all the drawing necessary. On the reverse side 

Come and bob for apples. 

’Twill be the greatest fun! 

The witch will tell your fortune 
When the bobbing is all done. 

Perhaps to be the President, 

Or rich, will be your fate. 

You’d better ask your Mamma 
If you can stay quite late. 

The child will enjoy delivering these himself, 
dressed as an elf, goblin, or some such creature. 
If he does this, let him state the time. Hours 
should be clearly understood at a children’s 

For a Goblin invitation, use colored paper 
or cardboard, cut in fantastic shapes. Draw 
little goblins peeping from behind curtains, or 
frolicking around, while in the air floats a bubble 
marked, “Fate.” The goblins may be drawn 
by any one without the least artistic talent. 
Draw around a half dollar for the head, and 
round a penny or ten-cent piece for the body. 
Connect these by a neck composed of two 
straight lines. Make some with short necks, 
some with long. Add lines for legs and arms. 
A few short lines in the lower half of the head 
will make a grotesque little face. Add a pair 
of large, pointed ears, and a pair of long 


Hallowe'en book. 

antennae, growing from the forehead, and your 
goblin is complete. The verse for this invitation 

The goblins are coming! 

You’d better watch out! 

On the wierd Hallowe’en 
They are all about. 

They bid you come over 
Your fate to try, 

For upon this one night 
It is hovering nigh. 

At a Hallowe’en party given by my daughter 
when in High School, these invitations were 
much appreciated. We searched through old 
picture books for appropriate pictures in outline 
of funny animals, and transferred them with 
carbon paper and a lead pencil, to the note paper 
used, going over the outlines with ink. Those 
cutting up capers were given the preference. 
The result was very good. On the reverse was 

Come to my Hallowe’en Party, do! 

Come take a stir at the Witch’s Brew. 

Taste of the Fortune Cake with me, 

And see what your fate through the year will be. 

The letters “W. S. C..” in the lower left 
corner of the envelope occasioned much guessing 
till it was discovered that they meant “Wear 
School Clothes.” At a Hallowe’en party this 
is always advisable. 

Hallowe'en book. 



The lights at a Hallowe’en party should always 
be candles, if possible, especially at the table. 
Use apples, turnips, carrots, etc., cut in gro¬ 
tesque faces for candlesticks. If lamps or 
electric lights are used, make special shades of 
stiff brown, red or orange paper, cut into faces, 
like Jack-o’-lanterns. The effect is very wierd 
and “spooky.” If there is a fence, place a row 
of Jack-o’-lanterns along the top. On the gate 
posts seat two Goblins, with Jack-o’-lantern 
heads. The body is a smaller pumpkin and 
carrots are used for the arms and legs, fastened 
to the body with wire. Outline the walk with a 
double row of Jack-o’-lanterns, and at the door¬ 
steps place a pair of ghosts. These are made by 
firmly fastening a Jack-o’-lantern, for a head, 
to an upright post, and draping in white. Black 
cats, owls, bats and spiders may be cut from 
paper and mounted here and there. If practic¬ 
able, cut holes for eyes, and place a candle behind. 
If desired, one of these may be used as the 
motif for each room, and the rooms be named 
“Cat Alley,” “Bat Tower,” or “Bat Belfry,” 
“The Spider’s Den,” etc., and the prize for the 
game played in each room should be a bat, 
cat, etc. 

“Goblin Way” is the name of the dining room. 
Two long tables are used. These may be 
temporary ones, made with boards and horses, 
and covered with crepe paper, in appropriate 


Hallowe'en book. 

designs. High overhead, between the tables, 
place a long, horizontal wire. From this, as a 
centre, drape long strips of twisted crepe paper 
in red and black, or orange and black. Drape 
them down to the farther side of the tables, 
making an archway down which the line moves 
for refreshments. Have piles of plates, silver, 
and paper napkins, at one end of each table, then 
have the refreshments placed along the tables. 
Each young man helps himself and his partner, 
as they pass along. This is an easy way to serve 
refreshments at a large party, and a very satis¬ 
factory one. Sandwiches, cut in odd shapes, 
salads, of which Waldorf salad of apples and 
nuts, is perhaps most appropriate, cakes and ices, 
are best. If new, sweet cider can be obtained, 
place large pitchers of it here and there. If 
not, serve punch. The candles here are placed 
in tiny Jack-o’-lanterns formed from large red 
apples. These may be made into Goblins, by 
fastening to a smaller apple with toothpicks, and 
using these for arms and legs. If it is a 
children’s party, by all means add cookies in the 
shape of cats, goblins, etc., frosted, with features 
of chocolate, put on with a toothpick. 


This should occupy a small table at one end 
of the room. It is a cake of any preferred kind, 
of the proper size to be all eaten. A doll, dressed 
as a witch, with a tiny black cat and a broom, 
keeps guard over it. In it are baked the follow- 

Hallowe'en book. 


mg* articles: A ring, a tiny key, a button, a coin, 
a horseshoe, four-leaf clover, or Swastika stick 
pin, a tiny round disk of white cardboard, a red 
candy heart, and a pebble. If preferred, these 
may be inserted in the cake after baking, but 
before frosting. Frost all over, in white, with 
the decorations in chocolate. In the four corners 
place a wish-bone, a four-leaf clover, a horse¬ 
shoe, and a Swastika Cross, in the chocolate, 
and in the centre, the words, “Fortune Cake." 
Mark the frosting lightly into slices, just enough 
for the number of guests, as the Fortune Cake 
must be entirely eaten. Each pair marches to 
the tables, where each cuts his or her own piece, 
then marches on, to give place to another pair. 
This must be done in silence. When all have a 
slice, these are all eaten at once, still in silence, 
then all are called upon to show what the Fortune 
Cake has brought them. The one who gets the 
ring will be married within a year. The button 
means single-blessedness; the key, a journey; 
the coin, riches; the heart, if whole, means a 
lover; if broken, it means a broken heart. The 
pebble means hard times, the stick-pin success 
and good luck, and the blank disk, “no luck at 


This is served in a room called “The Witches’ 
Cave.” Decorate it with witches, brooms, and 
cabalistic signs. At the end of the room stands 
a witch, in a yellow dress, long red cape, and 


Hallowe'en book. 

pointed high hat. She is bending over a large 
caldron, which she is stirring with an immense 
wooden spoon. The caldron contains sawdust, 
in which is hidden a number of packages. If 
the party is a small one, do these up in pink 
paper for the girls and blue for the boys. If it 
is a large party, have two witches, and two 
kettles, one for each sex. If the party is to make 
money for any purpose, this Witch's Brew takes 
the place of a grab-bag. Each person must take 
the spoon, stir the brew, muttering: 

“Bubble, caldron, and boil in glee, 

And bring my fortune fair to me.” 

Then he spoons up a package. 

Each package contains a souvenir, and a 
fortune in rhyme. These souvenirs may be 
easily picked up around the house, and will 
furnish just as much fun as if they cost a dollar 
apiece. Here are a few samples of the verses, 
which may be easily written by the clever school¬ 
girls of the family. As many of the souvenirs 
as possible, should be so arranged as to be 
fastened to the coat or dress, and worn the rest 
of the evening. 

One package may contain a clam shell, with 
a little beach scene drawn inside. The accom¬ 
panying slip reads: 

You’ll marry an old clam-digger, 

And live in a cabin small 
With a dozen or so small children, 

And scarcely clams enough for all. 

Hallowe'en book. 


Another package may contain a tiny teapot 
from a doll’s set, with this rhyme: 

A thin old maid, in a parlor I see. 

With five cats and a parrot, pouring tea. 

A package containing a bright penny, glued 
on a ribbon, has this verse: 

You’ll marry a miser—a skinflint so grim. 

And never a penny you’ll squeeze out of him. 

Keep this in your purse, and, I see very clear, 

You will always have money in spite of him, dear. 

A package containing a tinsel star, has a 
verse to this effect: 

Your horoscope says you will journey afar. 

And wherever you go, be a bright shining star. 

But your husband—oh well, dear, don’t feel too blue. 

You are bright enough to shine for two. 

A package containing a shining little Christmas 
tree ornament holds this verse: 

As bright as this little trinket, dear, 

Your future life will be; 

For health and wealth and happiness— 

Your fortune holds all three. 

A tiny bow with two strings instead of one, on 
each of which is tied a wee bow of ribbon, one 
pink, one pale blue, has this accompanying 

Why, what does this mean? Two strings to your bow, 

Or two beaux on the string? My dear, go slow. 

Choose carefully, rightly; for one’s your true mate, 

But the other will bring you a very sad fate. 


Hallowe'en book. 

For the men, one package may hold a doll's 
stocking—a blue one. The verse reads thus: 

A “high-brow” young writer, from Boston, of course, 
The witch says you’re fated to wed. 

But she can’t wash the dishes, she can’t make the pies, 
She can’t even make her own bed. 

A tiny toy hound is accompanied by this in¬ 
scription : 

I see a cross-grained hermit, with a pipe and dog and 

In a forest cabin living all alone. 

He was jilted, long ago, by a girl in our town, 

And into a woman-hater he has grown. 

A small bead or silk purse, with tightly tied 
strings has this verse: 

You’ll wed a great heiress; forgetting, for gold, 

The maiden who loves you with heart wealth untold. 
But I’m not so sure that your choice will be right, 

For she’ll hold the purse strings, and hold them quite 

A tiny horseshoe, either a pin or charm, or 
one made of silver cardboard has this verse: 

Good luck will attend you all your life. 
Beautiful children, a charming wife, 

A position of honor, untold wealth, 

A calm, clear mind, and perfect health. 

Hallowe'en book. 


A cut-out figure three, in gold cardboard, has 
this verse: 

Oh dear me! What is this I see? 

Three weddings Fate has in store for thee! 

And three divorces ! Think of that! 

Doesn’t it make you feel rather flat? 

A Japanese fan, with a girl on it, has this verse: 

You’ll travel, some day, to quaint, far-off Japan, 
And there you will find a fair bride, 

With dark almond eyes, many pins in her hair, 

And a sash round her slender waist tied. 

She’ll be modest, obedient. I wish you much joy 
With your dear little Japanese wife, 

Two almond-eyed children, a wee, paper house, 

And a long, lazy, Japanese life! 

Here are verses for a dozen. More are easily 
written, and souvenirs easily picked up. A flag 
may mean a soldier; a tiny boat, a sailor; a 
miniature Bible, a minister; a ruler, a school- 
teacher; a butterfly, a society girl, etc. Much 
fun is occasioned by making every pair display 
their souvenirs and read their verses aloud. 


Blowing the Candle. —Place seven lighted 
candles on a table. Blindfold a man, or girl, 
turn him around three times, then tell him to 
walk to the table, and blow three times. The 
number of candles left burning shows the number 
of years before marriage. If all are ex- 


Hallowe'en book. 

tinguished, the wedding will be inside of a year. 
If none are blown out, however, the reading is 
not seven years, but never. 

Roasting Chestnuts. —For this an open fire 
is necessary. Name two chestnuts—one for 
yourself, one for the man or girl you like best. 
The way they behave as they roast tells of their 
future life. If the chestnuts snap apart, it means 
a break in the friendship. If they snap apart, 
and then come together again, it means quarrels. 
If they burn steadily, side by side, it means a 
happy marriage. If all the chestnuts are named 
for the ones present, and put down to roast at 
once, many changes in partners are apt to take 

Little Lights. —Do not try this charm, if 
any in the company are at all superstitious. 
Otherwise, it is great fun. Provide a paper boat 
and a candle for each one present. Fix the 
candle, which should be the smallest obtainable, 
firmly in the boat. Provide a tub of water. 
Mark one handle as the starting place, the other 
as the haven. One couple at a time launch their 
boats and endeavor, by their breath alone, to 
sail them safely, and together, into the haven, 
which should be defined as within two marks 
near the handle. The way the boats behave 
tells of the progress of the friendship. For one 
of the boats to sink means death. If, however, it 
is preferred, it might be called the death of that 
one’s hopes. 

Hallowe'en book. 


Floating Needles. —Is similar. Two greased 
needles are floated in a glass of water. 

Comparing Names. —Each pair should write 
their full name—that of the man above that of 
the girl. Now cross out all the letters in each 
name that are alike, as in cancellation. There 
must be only one letter cancelled for a letter. 
For instance, if there are two L’s in the man’s 
name, and one in the girl’s, but one must be 
crossed in each. When all the similar letters are 
cancelled, the man counts the uncancelled ones in 
the girl’s name to discern her sentiments towards 
himself, while she does the same with his name. 
In counting, instead of saying, “One, two, three.” 
etc., they count thus: “Friendship, love, indiffer¬ 
ence, hate, scorn, kiss, court, marry.” The last 
one named tells the truth. If there are more than 
eight uncrossed letters, begin with “friendship” 

Naming Apples. —Each is presented with a 
rosy apple, or they may choose them from a dish. 
Each snaps the apple of the other, at the same 
time naming it for himself, or herself. Then 
the apples must be eaten in silence—or rather, 
without speaking—for it is by no means the 
same thing in a happy company of young people. 
When the apples are eaten, the seeds are care¬ 
fully picked out and counted, thus: 

One, I love; two, I love, 

Three, I love, I say; 

Four, I love with all my heart. 

Five, I cast away. 


Hallowe'en book. 

Six, he loves, seven, she loves, 

Eight, they both love. 

Nine, he comes, ten, he tarries, 

Eleven, he courts, and twelve, he marries. 
Thirteen, they quarrel, fourteen, they part, 
Fifteen, they die with a broken heart. 

Sixteen, wishes, seventeen, riches. 

All the rest are little witches. 

The last seed tells the fortune. Any over 
seventeen, are counted for “little witches, or 
children.” For instance, twenty seeds would be 
three children. All charms tried in couples 
should be preceded by a change of partners. 

Paring Apples. —This may be tried just after 
naming the apples, before the “silent” eating. 
Pare the apple around and around, without 
breaking the peeling. Then whirl this around 
three times, and cast it over your left shoulder. 
If any letter may be made out of the way it falls, 
that is the initial of the one you will marry. If 
no letter can be seen, you will not marry. 

Melting Lead.— Each couple is given a melt¬ 
ing ladle, or long-handled iron spoon, a bit of 
lead, and a basin of water. One spoon and basin 
will do for each couple/ but they must have a 
bit of lead apiece. The lead is to be melted and 
poured quickly into a basin of water. The shape 
it takes as it cools, indicates the occupation of 
the one you will marry. As failure to see any¬ 
thing potential in the shape means single-blessed¬ 
ness, the young people will be quick to see 
resemblances. For instance, a three-cornered 

Hallowe'en book. 17 

bunch might mean a plow, and you will wed a 
farmer, etc. 

Ghost Writing. —This is similar to the lead 
melting. One shakes a blot of ink from a pen 
on a fresh sheet of paper, and folds it, pressing 
and smoothing it well, then opens it again, and 
reads the occupation of the future partner by the 
shape of the blot. Only one shake is allowed. 

Seeing Your Future Partner. —This is the 
old candle and mirror trick. A girl must take a 
candle in one hand and a mirror in the other, 
and go down cellar or up attic, backward. Three 
steps from the head or foot of the stairs, she is 
supposed to see, in the mirror, the face of her 
future husband looking over her shoulder. Of 
course, the boys see that not too many fail to 
see it, for that means she is fated to be an old 

The Three Saucers. —Place three saucers in 
a row. One is empty, one contains clear water, 
and the third, soapy water. Blindfold the in¬ 
quirer, turn him around three times, and send 
him to the table, to touch a saucer. The first 
one touched tells his fate. The clear water means 
a happy marriage; the soapy water means that 
he or she will be a widow or widower, and the 
empty one means an old maid or bachelor. 

Threading the Needle. —Sit on a wooden 
pail, laid on its side, put your right foot out. as 
far as possible, place the heel of the left foot on 


Hallowe'en book. 

the toe of the right (only the heel of the right 
touching the floor), and thread a needle. If you 
fail to do it, you are not fit to be married. You 
will find it quite hard to find one that is fit, but 
you will have a jolly time trying. 

Picking Up an Apple. —This is as difficult as 
the last trick. Place a broom on the floor. 
Kneel on it, with both knees, and place both 
hands on it, outside the knees, then stoop over 
and pick up an apple placed a little distance 
away—the distance depending on the height of 
the person trying the trick. The apple should 
have a good stem, as even then it is not at all 
easy to pick it up. Any one succeeding will be 
married within the year. 

Bobbing for Apples. —This is a well-known 
game, but no Hallowe’en party is complete with¬ 
out it.. Try it in the kitchen, as there will be a 
good deal of splashing. Apples are floating on 
the surface of a tub of water. The boy (and 
girl, if she cares to try it), endeavors to get 
an apple with his mouth—his hands being tied 
behind him. The stems of the apples should be 
removed. Any one succeeding, gets a prize. 

A Cranberry Contest.— String as many cran¬ 
berries as there are couples, one cranberry in the 
middle of a piece of white thread a yard or two 
long. Each takes the end of the thread in his 
mouth, and at a given signal, each begins to draw 
the thread into his mouth, not being allowed to 
touch it with his hands. Of the two on each 

Hallowe'en book. 


string, the one getting the cranberry first, will 
be married first. If the two reach it at once, 
they will wed each other, and are out of the race. 
The winners are matched up again, with more 
string and cranberries, the defeated ones drop¬ 
ping out, and so on till one is declared the 
champion Cranberry Eater, and given a prize. 

The Match Test. —This had best be tried, 
holding the matches over the sink or stove, to 
avoid the danger of fire. One lights a match, 
and holds it till it is completely burned out, 
changing ends when necessary. The direction in 
which the piece falls, which is almost sure to 
come off, tells the direction of the loved one. If 
it burns entirely out without breaking the lover 
is present, and the holder may have a wish. 

Another Match Test.— Hold the lighted 
match in the right hand, and describe a complete 
circle in the air. If the match is still burning 
when the circle is completed, the holder will wed 
within the year. 

An Initial Test. —Cut all the letters of the 
alphabet from heavy paper, and float them in a 
tub of water. The one trying the charm is 
blindfolded, turned around three times, led to 
the tub, and told to kneel. Next he is to dip the 
tip of his right fore-finger into the water. Then 
he is told to rise, and is handed the letter that 
was nearest his finger. It is supposed to be one 
of the initials of his sweetheart’s name. If the 
girl tries it, she dips in the ring finger. 


Hallowe'en book. 


This is a game, rather than a charm, but it 
will cause a good deal of fun and good natured 
chaffing. The hostess must prepare it before¬ 
hand. In a large, imposing-looking volume—the 
dictionary, for instance, she has a sheet of paper 
concealed, containing the questions. If the party 
is large, have just as *many questions as there 
are guests. If it is a small party, have three 
times as many questions as there are guests. 
Number each question, mixing the numbers up 
helter-skelter, but using just the right numbers, 
in all. For instance, if there are thirty questions, 
the numbers must run from one to thirty, but 
the first question may be numbered twenty-three; 
the next, seven, the third, thirty, and so on. 
There must be as many round or triangular 
pieces of cardboard, as there are numbers. The 
numbers for the girls are on the circles, those 
for the men on the triangles. Be sure, in number¬ 
ing your questions, that those intended for 
the girls have numbers corresponding to those 
on the circles. Perhaps it would be easier to 
give the girls the even numbers. When ready 
to play, place all the cards face down, on a table, 
and have each one choose one, or three, as the 
case may be. They are not to show these, or 
speak about them. Then she tells them to be 
seated while she explains the game. She goes 
on to explain that as this is Hallowe’en, the 
witches have given her the power to tell the truth 

Hallowe'en book. 


about her guests, or rather, to make them confess 
it. She then takes the dictionary, and states that 
as the dictionary contains all the words in the 
language, it is perhaps the best book to use in 
this solemn game of confession. She next tells 
them that whenever she calls out a number, the 
one holding that number must rise. Then she 
proceeds to ask the questions. For instance, she 
asks (apparently reading from the dictionary), 
“Who has had three sweethearts and been false 
to all three? Seven!” The one holding seven 
rises, of course, and is greated with shouts of 
laughter. Perhaps the next question may be 
“Who is planning to elope next week with the 
chauffeur? Ten!” And some pretty girl rises. 
“Who thinks himself a great hit with the ladies?” 
“Who is the worst flirt present?” “Who has a 
wife and seven children in a distant city?” 
‘"Who intends to be married when leap-year 
arrives?” “Who slandered a rival to win his 
sweetheart?” “Who loves chewing gum better 
even than the nicest young man she knows?” 
“Who thinks himself the biggest catch of the 
season?” “Who is planning to wed a man of 
eighty for his money ?” are samples of the ques¬ 
tions to be asked. Many more will suggest them¬ 


This is a good game or trick for Hallowe’en, 
where it is not well known. The hostess says, 
“Let’s play Rabbit.” Of course, the others ask 


Hallowe'en book. 

how the game is played. She places them all in 
a circle. Then she says to the one at her left, 
“Do as I do!” She then drops down on her 
right knee, touches the tip of her right forefinger 
to the floor, and the next one of course does 
the same. He now says to the one at his left, 
“Do as I do,” and he drops to his knee. When 
all are in this position, the hostess casually asks 
her left-hand neighbor, “Do you know how to 
play Rabbit?” He must answer “No,” and im¬ 
mediately put the same question to his next 
neighbor, who answers “No” and asks the 
question in her turn. When it comes around to 
the hostess again, instead of answering “No,” 
she says, looking around, as if in wonder, “You 
don’t any of you seem to know how to play this 
game. Neither do I. Let’s not play Rabbit,” 
and rises. Of course all the others rise, amid 
gusts of laughter. 


A good guessing game for Hallowe’en, is 
Nosey. Divide the company into halves, sending 
them into two adjoining rooms. Hang a curtain 
between the rooms, in the doorway, with a small 
slit, or hole in it. One of the players sticks 
his nose through the slit, taking care that no 
more of him shows. The hostess announces: 

“The witches have stolen somebody’s nose. 

Who' does it belong to, do you suppose?” 

Hallowe'en book. 


If the nose is correctly guessed, it counts one 
for the guessing side. The side first making the 
score agreed upon, wins. If a nose is guessed 
correctly, the next nose must belong to the same 
side as the first, and that side continues to pre¬ 
sent noses till one is missed, when the other 
side takes its turn. Noses, without the ac¬ 
companying features, are much harder to recog¬ 
nize than one would think. 


To play this game, the first one says, “I am 
looking for a wife who is amiable/' or “active,” 
or any other adjective beginning with A. The 
next man says, “I haven’t seen her.” Then to 
the next man he says, “I am looking for a wife, 
who is amiable and busy.” The next replies, 
“I haven’t seen her,” and says to the next, “I 
am looking for a wife who is amiable, busy and 
cozy,” and so on. Each man must answer “I 
haven’t seen her,” and then say tc the next, “I 
am looking for a wife who is”—naming all 
the adjectives used before, and adding one 
beginning with the next letter. If any one fails, 
he must drop out. This continues till none are 
left, or till the end of the alphabet is reached, 
then the girls take their turn, only, of course, 
they are “looking for a husband.” The side that 
gets the farthest down the alphabet, or, in the 
rare event of both sides reaching Z, the side with 
the most players not out, beats. 


Hallowe'en book. 


This should be the last thing but one at a 
Hallowe’en party. Put out all the lights but the 
fire in the open fireplace, and gather around this. 
Each is given a fagot, preferably driftwood. If 
this can not be had, an excellent substitute may 
be made by soaking the sticks in very salty 
water, and thoroughly drying. Of course, the 
fagots must be dried long before the party, to 
insure their burning well. Each, in turn, throws 
his fagot into the fire, and performs a stunt, 
while it burns. He must sing, recite or tell a 
ghost story. All the stories, songs and recitations 
must be appropriate for Hallowe’en. It would 
be well for the hostess to arrange for these 
beforehand, but no one may be excused. He 
must do something befitting the occasion. The 
ghost song given in this book, is an excellent 
one to finish the program. 


This is a large, round cake, preferably a fruit 
cake, iced in white, with cabalistic signs in colors . 1 
It should be marked off into the proper number 
of sections, since none must be left. The hostess 
announces that this is the crowning celebration 
of the evening, and that each must take his piece 
in silence, not speaking until she gives permis¬ 
sion. She forms them in a circle, and each takes 
his portion. She then announces that a third of 
each piece must be eaten in silence, with the eyes 

Hallowe'en book. 


closed, and the back turned. All turn, close 
eyes, and proceed to eat, turning back again 
when they have finished. She then announces 
that the next third must be given away, and 
they proceed to exchange, still silently. Now, 
the hostess tells them, each must eat the piece 
he has just received, while walking forward to 
the table and back to his place, still in silence. 
They follow directions. Then the hostess hands 
each a Hallowe’en paper napkin, in which to 
fold th~ last third. This is done in silence. Then 
she tells them to take this last third home with 
them and place it under their pillow, for this 
is the Dream Cake, and the dream dreamed 
above it will come true. She then says, “The 
spell of silence is removed.” The cake should 
not be too large for the company, as each is 
expected to eat two thirds of his section. Be 
sure that the girls, at least, will dream over the 
mystic cake. 

The Enchanted Wood 

This is a play for any number of children, 
boys and girls. There should be at least sixteen 
—four each of the Bats and Goblins, and eight 
of the Tricksy Elves. Twice this number is 
better still. It may be given by almost any 
desired number, by changing the drills a bit. 
As written, it is intended for eight Bats, eight 


Hallowe'en book. 

Goblins and sixteen Tricksy Elves—preferably 
eight of each sex, but if boys are scarce, these 
may be all girls. 


The Bats are girls. They are dressed entirely 
in black. They wear close-fitting little caps or 
hoods, which cover hair and ears. These have 
little, round “bat ears” sewed on them. A black 
half-mask may be worn, or not, as preferred. 
The dresses have tight little waists and full 
skirts, also long, close-fitting sleeves. They wear 
black cotton gloves, which should be fastened to 
the sleeves so as to leave no gap. For wings, 
cut large, right-angled triangles. Fasten one of 
the short sides, gathered a bit, down the back 
of the dress. Sew the other along the back of 
the sleeve and, along the hand, to the tip of 
the little finger. The triangle should be large 
enough to allow the hands to be stretched out 
at the sides, front, or over the head, without 
pulling. The longside of the triangle makes the 
outer edge of the wing. If cutting it so makes 
the side sewed along the sleeve too long, round 
off that corner. Two of these triangles make a 
pair of wings. The entire costume—dress, 
wings, and cap, may be made either of cambric 
or crepe paper, in black. Shoes and stockings 
should, of course, be black, also. 

The Goblins are boys, dressed in scarlet. 
They wear no shoes, but the stockings are very 
long, and may be either the boys’ own black 

Hallowe'en book. 


stockings, or they may be of scarlet cambric, cut 
with pointed toes. The former ones would be 
easiest, of course, and would form a strong 
contrast to the scarlet suits. These are of crepe 
paper or cambric—the latter being preferable, 
as it will stand the antics of the boys better. 
The blouse is cut like an ordinary sailor blouse— 
every mother has a pattern to fit her own boy. 
Run a tight elastic in the casing, and stuff the 
blouse with something, to make the boys appear 
as if they had very round bodies. Instead of 
trousers, make full, puffed trunks, making 
casings at waist and legs, in which run strong 
elastic. A black belt may be added, or not, as 
you prefer. The sleeves are long, and easy- 
fitting—regulation blouse sleeves. No cap is 
worn, but the hair should be combed, or rather, 
rumpled, to stand on end, as wildly as possible. 
Each has a “Develine Whistle,” suspended from 
his neck by a cord. It may be tucked in the 
pocket, or front of the blouse, when not needed. 

The Tricksy Elves —the boys—wear suits of 
brown. The little trousers are straight, rather 
close-fitting, and end above the knee in a frill 
cut in points. The tunic is loose, and is cut in 
hip length—the bottom being cut in points. It 
is belted in around the waist. The sleeves, which 
are long, and rather close-fitting, end in pointed 
frills, and a collar, also cut in points, is worn. A 
little cap has the edges cut in points, and has a 
straight little stem sticking up at the top, as if 
the cap were the calyx of a flower. These caps 


Hallowe'en book. 

had better be fastened on by an elastic, unless 
they can be made to fit on very firmly. These 
suits may be of crepe paper. 

The girls who are Tricksy Elves are dressed 
in green. They have slightly full waists, cut 
with round Dutch necks and short, puffed sleeves. 
Both neck and sleeves have the pointed frills. 
The skirts are short and full, cut in points around 
the bottom. They wear sashes of the same color, 
tied at the left side, in two long ends. The boys' 
tunics are belted in with similar sashes. The 
girls have green caps, made exactly like those 
of the boys. Choose woodsy browns and greens. 
Tan shoes and stockings will be best for both, 
choosing those that are brown rather than 
yellow. If all the Tricksy Elves are girls, dress 
half in brown and the rest in green. 

The girls carry Mirlitons—the boys, Carnival 
Trumpets. These, also the whistles carried by 
the Goblins, can be obtained of the publishers 
of this play. 

The one scene of the play is laid in a wood. If 
a woodland scene is not on hand, use a dark 
green curtain, and pin a few branches to it. The 
Bats enter, and flit, half to one side of platform, 
half to the other. 

They go through all the changes of the drill 
with a flitting motion, with outspread wings. 

Fig. 1 . All turn to face centre. Spread 
skirts, and make a low bow or courtesy to the 
one opposite. 

Hallowe'en book. ?9 

Fig. 2. Flit to opposite side, turn, and flit 
back again. 

Fig. 3. Flit to take places, one at each corner, 
and one in centre of each side. 

Fig. 4. Those in corners flit to centre, then 
around in a circle, then back to place. 

Fig. 5. Those at centre sides repeat figure 4. 

Fig. 6. Repeat figure 4. While corner Bats 
do this, those at sides spin around in their places. 

Fig. 7. Repeat figure 6, side Bats flitting, 
corner ones spinning. 

Fig. 8. Two at centre back and fron* flit 
to take positions halfway to centre. All spin 
on left foot, to left, then to right, then to posi¬ 

Fig. 9. Two in centre spin around to face 
back, flit up to back corners, then flit down, 
weaving in and out. They pass outside the first 
Bats, then between the first and second, around, 
inside second, between second and third, outside 
third, and describe a circle around her, then up, 
outside second, inside first, and up around her. 

Fig. 10. The three on each side now follow 
the one who has been weaving in and out, down 
sides, across front in two lines, up sides, and 
meet at centre back. 

Fig. 11. Meet at centre back, and flit to front 
in pairs, wing-tips touching. Separate at front, 
flit to corners, up sides to back. 

Fig.* 12. First pair flit down as in figure 10. 
The remaining six flit down three at a time, 
wing-tips touching. At front, first pair separate, 
one passing to each side, then first three pass 



to left, single file, and next three to right, same 

Fig. 13. Meet at centre back, flit down in two 
fours, wing-tips touching. Separate at front, 
and flit up sides in pairs. 

Fig. 14. Form line across back, all flit down 
together, wing-tips touching. 

Fig. 15. Flit backward, wing-tips still touch¬ 
ing, then down again, the same way, and sing. 
Tune: “Upidee.” 

To the Enchanted Wood tonight, 

Come the Bats, flitting Bats. 

Although we seem a hybrid sight, 

We’re not birds nor rats. 

We’ll flit away till dawn of day, 

And mischief brew where’er we may. 


We are Bats, uncanny Bats. 

We’re not birds. We’re not rats. 

We are whirring, flitting Bats, 

Just Hallowe’en Bats. [Repeat chorus.] 

We’ll flit around your pillows white, 

Teasing Bats, flitting" Bats, 

And plague you all the livelong night. 

Wierd, uncanny Bats. 

We’ll bring you dreams of mystery, 

Of baneful things most dread to see. 


If to this wood a mortal strays, 

He’ll find* Bats, flitting Bats, 

Instead of dainty Elves, Fays, 

He’ll find noisome Bats. 

For ’tis the mystic Hallowe’en, 

When strange, uncanny things are seen. 

Hallowe'en book. 


[During the smging of the verses, Bats stmd 
with wings folded, arms at sides. While singing 
chorus, they flfc to and fro, with outspread wings, 
whirling around at the word <( whirring,” then 
resuming their flitting. At end of song, they 
turn to face hack, and flit up to back one at a 
time, second Bat starting when first Bat has 
taken three or four steps, and so on. As each 
reaches the hack, she zvhirls completely around, 
then stands facing front. When all have done 
so, all whirl together, then stand peering out 
from under tip of wing, toward entrance. When 
Goblins enter, they remain at back.] 

First Bat [one nearest entrance] : 

Hark! Cometh a mortal? Who draweth nigh? 

Second Bat: 

Around him we’ll whirr and flit and fly. 

Third Bat: 

Who ventures within this wood tonight, 

Had better prepare for a horrible fright. 

Fourth Bat: 

Nay, sisters. No mortal is coming this way. 

Fifth Bat: 

Now how can you tell? Can you see him, pray? 

Sixth Bat: 

I hope it’s a mortal. ’Twould be such delight 
To worry him into a horrible plight. 


Hallowe'en book. 

Seventh Bat: 

Yes, we’ll teach him the meaning of Hallowe’en. 

First Bat: 

It isn’t a mortal. 

Eighth Bat: 

Why, what have you seen? 

First Bat: 

It’s only the Goblins now coming this way, 

And as they are our kindred, on them we can’t prey. 

Second Bat [as whistles sound behind scenes] : 
Yes, it’s surely the Goblins. Their whistles I hear. 

Third Bat: 

The noise groweth louder. They’re surely quite near. 

[Goblins come on the stage with a jump, one 
at a time. As each enters, he blows his whistle, 
then runs down in a .zigzag line to front. They 
apparently do not see the Bats. When all are in 
line, they place their hands on their hips, and 
laugh aloud, in a. boisterous way, then sing] : 

Tune: “Yankee Doodle.” 

In the Enchanted Wood tonight, 

Strange things you’ll see a-straying. 

To frighten you is their delight; 

’Tis their idea of playing. 


We’re the Goblins, ha, ha, ha! 

Hallowe’en we’ll keep, sir! 

All the night our pranks we’ll play, 

And never stop to sleep, sir! 

Hallowe'en book. 


We’ll scare the babies into fits, 

Likewise each pup and kitten. 

We’ll bring the maidens fortunes bad. 

We’ll bring the boys the mitten. 


We’ll torment all the little girls. 

We’ll set them all to crying, 

We’ll pinch their arms and pull their curls. 

And send them home a-flying. 


We’ll tweak the nose and cuff the ears 
Of all the little boys, sir. 

We’ll frighten everyone around 
With an ear-splitting noise, sir. 

[Instead of singing the chorus this time, &ach 
blows a blast on his ivhistle , all together, then 
asks, “How’s that for a racket?” During singing 
of chorus Goblins place their hands on their hips, 
and sway to and fro, coming down hard on their 


Fig. 1. Turn to right. Place hands on 
shoulders of one ahead, and march entirely 
around platform, turning square corners with a 
hop or skip. 

Fig. 2. Drop hands. Turn to face back, run 
to centre, turn somersault, run on two or three 
steps, turn, somersault back, rise and face front. 

Fig. 3. Half run up each side, form line at 
back, hop to front on one foot, holding the other 
in hand. 


Hallowe'en book. 

Fig. 4. Hands on shoulders, run around in 
circle, then to front. 

Fig. 5. Half run to centre, take position bent 
over, as for leap-frog. 

Fig. 6. Others run up sides, to back, then 
down to front, leaping over those in centre. 

Fig. 7. Those in centre run to front; then 
the others take position in centre, while these 
run and leap, as in figure 6. 

Fig. 8. Those in centre, rise, join hands in 
pairs, and “swing around.” Every child knows 
how to do this. 

Fig. 9. Those in centre tumble down, as if 
dizzy. Others run around them, whoop, loudly. 
Those in centre grasp them by one foot, and all 
tumble around together. 

Fig. 10. Rise, face in couples, place hands on 
each others’ shoulders, and jump up and down. 

Fig. 11. Form in fours, two with joined 
hands, other two joining their hands across the 
joined hands of the others. See-saw back and 
forth, and sing: 

Tune: “Yankee Doodle.” 

It is the mystic Hallowe’en! 

To mischief we’ll be hasting. 

No more of these, the spooky hours, 

In frolic we’ll be wasting. 

[At end of first line, the pair with hands upper¬ 
most, raise them, and take in under one of the 
others . Go on see-sawing in this position, to 
end of second line, then raise hands again, and 

Hallowe'en book. 


take in the partner of the one first captured. 
See-saw in this zvay to end of third line, then 
two taken in raise hands and take in one of the 
others. See-saw to end of line, and take in last 
one, then hop up and down in this zvay while 
singing chorus, which is the same one as before. 
Any child who has ever played “Wash My Lady's 
Dishes,” ending up zvith “A Bundle of Rags,” 
will know hozv to do this, but if that game is not 
familiar, these directions can be easily followed .] 

Fig. 12. Dissolve “bundles” by letting go of 
hands, and form line across front. 

First Goblin: 

Now what shall we do? 

Second Goblin : 

Let’s think for a spell. 

Then each his plans for the night shall tell. 

Fig. 13. All rest right elbow in left hand, and 
lay right cheek in right hand, as if in thought. 
Take two or three steps backward, then change, 
putting left elbow in right hand, and placing 
chin in left hand. Step back, as before, then 
change to first position. Continue till back is 
reached, and stand there in one of these positions. 

[Bats fan the Goblins zvith their wings. Gob¬ 
lins turn quickly, and spy Bats, apparently for 
the first time. They leap back, in pretended 
fright. Bats bow. Goblins bow, also, then 
separate, standing at sides, and address Bats.] 


Hallowe'en book. 

Third Goblin: 

From whence do you come? 

Second Bat: 

From whence do you? 

Fourth Goblin : 

Inquisitive Bat, don’t you wish you knew? 

Fifth Goblin : 

What do you here, good friends, I pray? 

Third Bat: 

On mischief we’re bent. We must now flit r- 

Sixth Goblin: 

We, too, on mischief all are bent. 

Seventh Goblin : 

Let’s go together. 

Fourth Bat: 

Why, I’m content. 

Eighth Goblin: 

Together we mischief great can brew. 

One head is but half as good as two. 

First Goblin : 

Yes, we’ll plan together, and prowl in pairs. 

Oh, won’t the mortals have lots of scares! 

[Each Goblin offers his hand to a Bat, who 
gives him the tip of her wing. They prance 
around in a circle, Bats flitting, while they 
prance, then each pair finds a corner, or a posi- 

Hallowe'en book. 


tion at one of the sides, and all whisper earnestly. 
All start back as the Tricksy Elves come tripping 
onto the platform, blowing their mirlitons and 
trumpets. They take places facing the Bats and 

First Elf: 

Who have we here? 

First Goblin : 

IIow clare you intrude! 

Second Elf : 

How came you in the Enchanted Wood? 

Second Goblin : 

We came on our feet. 

Fifth Bat: 

And we on our wings. 

Sixth Bat: 

Go right away, you saucy things! 

Third Goblin: 

Don’t you Elves know it is Hallowe’en? 

Third Elf: 

You’re planning mischief. That’s plain to be seen! 
Fourth Goblin : 

Of course we are. What else should we do? 
Fifth Goblin : 

And pray, little Elf, what is that to you? 


Hallowe'en book. 

Fourth Elf: 

But it's unkind mischief, we know very well. 

Sixth Goblin: 

And what can you do about it, pray tell? 

Fifth Elf: 

Don’t frighten the children. 

Seventh Goblin : 

Why, that’s the best fun. 

Eighth Goblin: 

And it’s time, quite time, that we had begun. 
Sixth Elf: 

Don’t scare the dear babies, please, tonight. 
Seventh Bat: 

Why, that we claim* as our Hallowe’en right. 
Eighth Bat: 

We’re going to frighten them out of their shoes. 

First Goblin : 

Let’s hurry away! there is no time to lose. 

[During this colloquy, the Tricksy Elves, a step 
at a time, have got outside the Bats and Goblins, 
and slozvly forced them to the centre. Now they 
suddenly begin running around in a circle, 
blozving lustily an mirlitons and trumpets. Bats 
and Goblins run around, inside circle, seekhig a 

Hallowe'en book. 


way out. Next all stand still, Elves joining 
hands. Goblins take their whistles, and ap¬ 
parently try very hard to blozv them, puffing 
out their cheeks. The whistles must not be 
really blown, for they must not make any sound. 
Elves dance up and down and jeer. Bats try, 
but in vain. Elves sound mirlitons and trumpets 
again, then spreading out, drive Bats and Goblins 
out, with a great deal of racket. They follozv 
them, and sound mirlitons and trumpets fainter 
and fainter, as if dying away in the distance, 
then louder and louder, till at last they come on 
stage again. Form tzvo lines at sides of platform, 
facing centre, and sing.] 

Tune: “Rig-a-Jig” 

We’ve put the wicked Bats to flight, heigho , 1 heigho, 
heigho, heigho. 

The Goblins we have filled with fright, heigho , 1 heigho, 


We are the Elves, we’re the Tricksy Elves, 

The Tricksy Elves, the Tricksy Elves, 

We are the Elves, we’re the Tricksy Elves, 
Heigho, heigho, heigho! 

Heigho, heigho, heigho, heigho, 

Heigho, heigho, heigho, heigho! 

We will keep Hallowe’en by ourselves, 

Heigho, heigho, heigho! 

1 Swing mirlitons and trumpets, in time to music, to end 
of line. During chorus, wave them high, and dance, with 
an up-and-down step, to opposite side of platform, crossing at 
centre. Repeat this to end of chorus, then blow mirlitons and 
trumpets, once, and whisper to each other during interlude. 




We wove out there 2 a mystic maze, heigho, heigho, 
heigho, heigho, 

Who 3 once gets in, till morning stays, heigho, 4 heigho, 
heigho! Chorus, 

[During chorus, dance around circle, with 
same step as before, accenting the motion with 
the mirlitons and trumpets, held in right hands. 
At end of chorus, blow them, then those in half 
of circle farthest from audience retain places, 
while the rest march up to form a second 
semi-circle in front of them.] 


We’ll dance in the Enchanted Wood, heigho, 5 6 heigho, 
heigho, heigho, 

For we’re 0 the Tricksy Elves so good, heigho, 7 heigho, 
heigho! Chorus. 

[During chorus, march in two circles, one 
inside the other; those outside, with mirlitons, 
shaking them lightly up and down, outside 
circle; those in inner circle moving trumpets 
lightly up and down, inside circle. The 
circles should move in opposite ways. The 

2 Wave in direction taken by Bats and Goblins. s Strike 

mirlitons and trumpets lightly against left hands, to end of 

line. ‘Advance toward centre in semi-circular form, and form 

large circle. 

6 Those with trumpets, tap them in time to music; others, 
wave mirlitons around head, to end of line. “Touch breast with 
mirliton and trumpet and bow low, to audience. 7 Bring to 

right, and up a little higher at each “heigho.” 

Hallowe'en book. 


next few figures are done to the same music, 
hut without singing. Continue each figure as 
long as desired .] 

Fig. 1. All turn, to face opposite way. This 
is to insure against any dizziness. Those inside 
step into outer circle. They are now facing 
in pairs. Bow to partners, then do the “Grand 
Right and Left/’ which consists of a weaving, 
in-and-out motion. Each one with a mirliton 
passes to the right of the one she is facing, then 
to the left of the next one met, to the right of 
the third, to the left of the fourth, and so on. 
Each of those facing the other way (those with 
trumpets), passes first to the left of the one he 
is facing, to the right of the next, to the left of 
the third, to the right of the fourth, and so on. 

Fig. 2. Pass to right and to left, at centre 
back, then down sides to form two lines opposite 
each other. Leaders meet, cross mirliton and 
trumpet, dance or march around once and a half 
times, then each crosses and dances with the one 
now at head of line, then again with partner, 
then with second one in line, again with partner, 
and so on, each one danced with moving up one 
place. When leaders have danced with entire 
line, they dance once more together, then take 
places at ends of lines. Couple now at head, 
when leaders have reached the pair next but one 
below them (the fourth pair, as they originally 
stood), now meet, cross and dance, and pass 
down line in same way. When these have passed 


Hallowe'en book. 

the same distance down the line, those now 
leaders begin. Continue, those danced with 
always moving up one place, till all are in their 
proper places again. If this seems difficult, any 
one who knows the “Virginia Reel” can show 
you how it is done. 

Fig 3. Two lines meet, march up to centre 
back, to corners, then down sides to front, leav¬ 
ing two in each corner, two at centre back, two 
at centre front, two at centre of each side. All 
turn to face centre. 

Fig. 4. Couple at right back corner, and 
couple at left front corner advance to centre, 
bow, then cross mirlitons and trumpets and dance 
as in figure 2, then all four dance around in a 
circle, then step lightly backward to places. 

Fig. 5. Those in opposite corners repeat 
figure 4. 

Fig. 6. Those at back and front repeat figure 

Fig. 7. Those at sides repeat figure 4. 

Fig. 8. March up sides to centre back, then 
down, all abreast, or in semi-circle, according 
to width of stage, and sing. This time, sing 
both these verses before singing chorus: 

Though we no unkind tricks will play, heigho , 1 heigho, 
heigho, heigho, 

The Tricksy Elves must now away, heigho , 2 heigho, 

Hallowe'en book. 


Our pranks we’ll play till dawn of day, heigho , 1 heigho, 
heigho, heigho, 

Then silently we’ll flit away, heigho , 2 heigho, heigho. 

Singing and dancing, away we go, away we go, away 
we go, 

Singing and dancing, away we go, heigho, heigho, 

Heigho. heigho, heigho, heigho, heigho, heigho, heigho, 

Singing and dancing, away we go, heigho, heigho, 
heigho ! 

1 Wave mirlitons and trumpets, to end of line. 2 Bring them 
up and out, a little higher with each “heigho.” During sing¬ 
ing of chorus, march up sides to centre back, around to wind 
a spiral, then around to unwind it, then out, repeating chorus, 
if necessary. After all have passed out, let them run back 
again, around in a circle, and out again, blowing lustily. 

Who Was Scared ? 

A short play for girls. 


Dorothy, Katherine, Virginia, and Louise 
—school girls. Miss Fairlee— one of the teach¬ 
ers. Madame Desautelle— the principal. 

Scene I. 

A room in Madame Desautelle’s boarding 
school. The room belongs to Dorothy and 
Katherine. Arrange room to suit fancy. The 
only really necessary thing about it is that there 
shall be a door, visible to the audience, and a 


Hallowe'en book. 

drapery curtain, apparently over a wardrobe. 
The lack of a window may be supplied by a 
screen, around which the girls can come. 
Dorothy and Katherine seated, Katherine with 
a book, Dorothy working problems. Katherine 
rises, and tosses book across room. 

Katherine: Put up your book, my studious 
friend, and rejoice with me. The weary study 
hour is over, and recreation has begun. Didst 
not hear the bell, my busy room-mate ? 

Dorothy : Oh, rest your mouth a minute 
or two more, Katherine, while I finish this 
problem. Do! that’s a dear! 

Katherine : Rest it! It’s rested now till my 
jaw aches, and I absolutely must work it or have 
the lockjaw. Don’t be a diggist, Dorothy, it’s 
a dreadful thing to be. 

Dorothy : But I can get it, I know, if you’ll 
only let me alone five minutes. 

Katherine: Can’t do it, my lady fair. No 
conversation, no outside reading, no letter or 
note writing, no day-dreaming, no breathing, in 
study hour, young ladies! Conversely, no study¬ 
ing, no theme writing, no problem working after 
study hour. Do you wish me to report you to 
Madame, for breaking the solemn and impor¬ 
tant rules of this institution of learning—this 
home of the sciences—this charming prison, my 
dear room-mate? 



Dorothy: Oh, Katherine, don’t! Let me 
alone, just a minute. 

Katherine: Oh, Dorothy, do! Do stop study¬ 
ing just a minute! [Katherine throws a sofa 
pillow, hits Dorothy, and a squabble ensues. 
Enter Louise and Virginia, laughing.] 

V irginia : What’s up ? 

Katherine: Dorothy’s back. 

Louise : What about ? 

Katherine: She wants to study. 

Virginia: Wants to study! Dorothy? Tell 
us something easier to swallow. 

Dorothy : But T was working on the very 
last problem, and might have finished it, if it 
hadn’t been for Katherine. 

Virginia: There’s another study hour com¬ 
ing, my dear. We haven’t worked nearly to the 
last problem yet. We’re much nearer the first 

Louise: Don’t waste good time discussing 
algebra. Talk of something worth while. I’ve 
thought of the greatest joke. 

Katherine: Out with it. We’re all ready 
to laugh. 

Louise : Do you know what date it is ? 

Dorothy: Sure. The thirtieth. 


Hallowe'en book. 

Virginia : And that means that tomorrow is 
the thirty-first, and tomorrow night— 

Katherine : Is the ghostly and mystical 

Dorothy : But don’t you count on that, 
Louise. We don’t celebrate that romantic holiday 
in Madame Desautelle’s select boarding school 
for young ladies. 

Virginia: They don’t? Why? 

Dorothy: Because such very young ladies 
as we should be thinking of our studies and not 
of our future mates. Besides, Tessie Morton 
had a surreptitious celebration in her room last 
year—your room, by the way—and managed to 
set it on fire— 

Louise: The celebration? 

Dorothy : ‘Certainly. The room, likewise. 
So Madame has strictly forbidden any notice 
being taken of Hallowe’en. 

Virginia: Oh, we’ll take no notice. If we 
meet Miss Hallowe’en we’ll turn our backs and 
say, haughtily, over our shoulders, “I haven’t 
had the privilege of an introduction.” 

Louise: Oh, will we? I’m going to carry 
out my plan, if I do it alone. Sweethearts aren’t 
allowed, either—teachers being included in the 
prohibition as well as pupils—yet Miss Fairlee 
has one. 

Hallowe'en book. 


Katherine: Miss Fairlee? Are you sure? 

Louise: Sure as can be. She meets him 
every Wednesday evening, at Dr. Finley’s. Mrs. 
Finley is her cousin. I owe Miss Fairlee one. 
She gave me an impo last night. 

Dorothy : But you deserved it, you know. 

Louise: That doesn’t matter, my dear girl. 
I’m going to play ghost for Miss Fairlee—the 
ghost of her lover. 

Katherine : But if he’s alive— 

Virginia: This one is; but she had another, 
years ago. 

Katherine: Not many years, I guess. She 
isn’t very old. 

Virginia : And he was drowned. He will 
appear to her tomorrow night, and upbraid her 
with her unfaithfulness, and— 

Dorothy : 

“Tax her with faithlessness, claim her as bride, 
And bear her away to the grave.” 

As the old song sayeth. But would you dare? 

Louise : Of course. She’ll shriek and faint 
away, and we will glide away to other scenes 
and places before she recovers her senses, or 
her sense. 

Katherine: Let’s all do it. We can take 
different corridors, and have great fun and 


Hallowe'en book. 

Dorothy: But suppose we’re caught? 

Louise: We won’t be. While excitement 
reigns upstairs, we’ll slip down the back stairs, 
out the pantry window, round to this side of the 
house, and up the trellis to your window. That 
window explains why you are to be included in 
the Scarers, instead of the Scarees. Do you 

Dorothy: We do, and accept. It will be 
much more fun to be a ghost than to see one. 

Virginia: We’ll slip in here after Madame 
goes the last rounds, and then ho, for some fun. 
At the witching hour, it must be. 

Louise : Madame sleeps so soundly that she’ll 
never hear, and Miss Fairlee will be ashamed of 
her fears in the morning, so she won’t tell. 

Dorothy: Silence, then. Mum is the word. 
Not another mention of the plot till the time 
to carry it out arrives. Somebody’ll be scared 
tomorrow night, I fear. 

Louise : Be sure none of you gives it away. 

Katherine: Sure. Not a soul shall know. 
We’ll keep the dark and dreadful secret buried 
deep within our guilty breasts. 

Virginia: Let’s go over to Maude’s room, 
and talk up Hallowe’en and ghosts, in general. 
Maude’s dreadfully superstitious. 

Girls [rising] : So we will. 

Hallowe'en book. 


Dorothy : Who else will be seated, I wonder? 
Of course, all the girls don’t believe in ghosts. 

Louise: Oh/ there’ll be enough of them 
scared to raise quite a breeze. Never you fear! 
[All pass out.] 

[During this conversation, Miss Fairlee passes 
the door several times, unseen by the girls, but 
seen by the audience. After the girls have gone, 
she stops in doorzvay, and says, aloud, “Yes, 
who will be scared, I wonder?”] 


Scene II. 

[Same room as before. Enter Miss Fairlee, 
wearing a long, straight costume and mask of 
black, on which is outlined, in white paint, a 
skeleton. She closes the door, locks it, and 
removes the key, then stands in listening 

Miss F.: And now for the last act in this 
little Hallowe’en drama. Who will be scared 
this time, I wonder? Let me see—behind that 
curtain, I think, will be a good place. I can reach 
the window easily, while they are busy at the 
door. Oh, the key! [Steps back to door, picks 
up key from floor.] 

[She steps to the curtain, stands listening a 
moment or two, then steps behind it. The girls 
enter, one at a time, through the window, or 
from behind the screen.] 


Hallowe'en book. 

Dorothy: Peek out, Louise, and see if the 
coast is clear. If it is, scoot, and get in to bed 
as quick as you can. 

Louise [trying door] : It’s locked. 

Katherine: Of course it is, goosie, I locked 
it the last thing. Turn the key. 

Louise : The key isn’t here. 

Katherine: Of course it’s there. 

Virginia: Of course it isn’t. What did you 
do with it? 

Katherine: I didn’t do anything with it— 
just left it there. Hurry up. 

Virginia: But it isn’t here, Katie, truly. 

Katherine : It must be. 

Dorothy : Maybe she pulled it out by mistake 
and dropped it. Look on the floor. 

Louise : I’ve been looking there. It isn’t 

Katherine : Nonsense ! It must be! 

[All search. While they are thus occupied, 
Miss Fairlee glides from behind curtain, to 
window, which she closes and locks; or if there 
is no window, she glides behind screen and back 

Louise: Well, of all the queer things! 

Virginia: Queer! I should say so! Real 

Hallowe'en book. 


Dorothy : Come, Katherine, give up the key. 
The joke’s gone far enough. Madame may be 
here any minute. 

Katherine : But I haven’t it, truly! I locked 
the door, for I tried it afterwards, and the 
key was certainly in it. 

Dorothy: But no one could have taken it, 
when the door was locked! 

Katherine: Well, it’s gone. 

Louise : Spirits! It’s Hallowe’en. 

Virginia: It’s queer, surely. What shall we 
do, Lou? It’s no use to go back down the 
trellis. There’s none at our window. And the 
doors are all locked inside. 

Dorothy [looking towards window] : That’s 
queer, tOQ. Girls, I came through that window 
last, and left it open, and it’s shut and locked! 
[Girls look toward windvw, then huddle to¬ 

Louise : I don’t like it! There’s, no one here 
but us, and we’ve been here every minute, and 
not one of us has been near the window, yet it’s 
shut and locked, and the door key’s gone! 

Virginia: And it wasn’t any fun, anyway, 
and now we’re in a fix. Miss Fairlee was out 
for the night at the Finley’s, and not a soul was 
scared, till we got to the kitchen. Funny, none 
of the girls believe in ghosts! 


Hallowe’en book. 

Louise : But they do! Maude does, and 
Geneva, and Ethelyn, anyway, and some of the 
others more than half believe in them. 

Dorothy: Yet every one of them knew who 
we were! There was a leak somewhere. Some 
one caught on to our plans and warned the rest, 
I’m sure. 

Katherine: Well, Katy was scared enough, 
I’m sure. 

Dorothy: And so were we. We didn’t 
expect to find anyone there, I’m sure. 

Louise: And we got cheated out of the cats 
we meant to capture. 

Virginia : Seems to me Katy’s beau stays 
pretty late. 

[All the girls have been glancing uneasily from 
the door to the window, and around the room.] 

Louise: Well, all we can do is camp here 
till morning, and then try our luck in getting 
out again unobserved. 

Dorothy: But George is almost always here 
and at work in the garden before the outer doors 
are opened. 

Virginia: We’ll bribe George. I’m not 

afraid of anything that wears trousers. It’s 
Madame that sends awe to my heart and soul. 
Hush! [Raises forefinger, and all look at one 
another in consternation . as stefs are heard, then 
the doorknob is turned.] 

Hallowe'en book. 


Madame [outside] : Dorothy! Katherine! 
[All stand looking toward door. No one 

Madame: Don’t pretend to be asleep. Open 
this door instantly. 

[Dorothy seises Katherine, and retreats behind 
screen, to where bed is supposed to be, and leaves 
others still standing at door.] 

Madame [pounding loudly at door ]: Doro¬ 
thy! Katherine! 

Dorothy [behind screen, sleepily] : What is 
it? Who’s there? 

Madame: Open this door, instantly. 

Katherine: We can’t, Madame. Some one 
has played a trick on us, and stolen our key, 
after locking us in. 

Madame: No more nonsense, girls! Open 
this door. 

Dorothy: We can’t, Madame, truly! We 
haven’t any key. 

Madame: Very well, I will go and bring my 
keys. But do not try any tricks. If anyone 
tries to escape from this room, it will be the 
worst for her. 

Dorothy: We don’t want to get out. We 
only want to sleep. [Girls listen a moment.] 

Katherine: She’s gone. Off with our rigs, 
and into bed, long enough to muss it. Hide in 


Hallowe'en book. 

the wardrobe, Lou and Virgie, till the storm 
blows over. Maybe you may get safely to 
your rooms yet. 

Virginia: My prophetic soul whispers that 
she has already discovered our absence and will 
haul us ignominiously from the dark depths of 
the wardrobe to immediate execution. But to 
leave no stone unturned, here goes. 

[Virginia and Louise throw hack curtain, dis¬ 
closing the skeleton. They scream, drop curtain, 
and run to door.] 

Dorothy: What is it? 

Katherine: What in the world ails you? 
Are you crazy? 

Louise: Oh, the awful thing! The awful 

Virginia [rattling the door frantically] : 
Oh, I want to get out! [ screams]. 

Dorothy [shaking Virginia's arm] : Virginia! 
Stop that noise this minute ! What is the matter? 

Virginia : This room is haunted! I want to 
get out! 

Katherine : So did the starling. 

Dorothy : What did you think you saw ? 
And where? 

Louise [pointing] : In the wardrobe. Oh 
dear! If Madame would only come! 

Hallowe'en book. 55 

Dorothy : There’s nothing in the wardrobe, 
girls. Don’t be foolish ! 

Virginia : I tell you we saw it. Oh dear, oh 

Katherine : Look here, girls, we’ll prove that 
there’s nothing there. See! [Katherine and 
Dorothy advance to ivardrobe, lift curtain, dis¬ 
cover skeleton, and rim, screaming, to door.] 

Dorothy : We must get out! Let’s break it 

Katherine [screaming] : Madame! Mad¬ 
ame ! [All pound on door, and scream, with one 
eye on wardrobe.] 

Louise [suddenly] : Here she comes. Thank 
goodness! I thought she never would ! 

[Madame unlocks and opens door. Virginia 
falls fainting into her arms; others try to crowd 
out, but Madame enters, pushes them back into 
room and locks door. While all arc looking in 
that direction, Miss Fairlee slips from wardrobe, 
and out of sight behind screen. If window was 
used, she raises that and steps out.] 

Madame: Bring some water. 

[Girls look toward wardrobe, but do not move. 
Madame lays Virginia down on floor, brings 
water herself, throws a little in Vis face.] 

Virginia [sitting up]: Oh, take it away! 
Take it away! 


Hallowe'en book. 

Madame [shaking her ] : Stop this nonsense 
at once, Virginia. Get up! 

[Virginia rises, slowly and unsteadily, helped 
by Louise.] 

Madame : Now I want to know the meaning 
of this. Katherine, stop clinging so to me. 
Louise, stop crying! Dorothy, you usually have 
a little sense. Stop staring so at the other side 
of the room, and tell me what is the matter ? 

Dorothy : It was something in the wardrobe. 

Virginia : It was a ghost, Madame. 

Madame: Indeed? A ghost? Well, young 
ladies, you may think you can frighten your 
mates, but you can not frighten me. 

Louise: But we saw it, Madame, truly. Oh, 
please let us out. [Sobs hysterically.] 

Katherine: We did see it, Madame, all of 
us. And the windows and doors act so myster¬ 
iously. They open and shut themselves. Oh! 
[Screams again.] 

Madame: What utter foolishness. Come, 
now, I will show you that there is nothing there. 
[She goes to wardrobe, raises curtain, sweeps it 
aside, and holds it .so.] 

Madame : See for yourselves. There is noth¬ 
ing here. [ Girls glance over, shudder, see noth¬ 
ing, step closer.] 

Dorothy: Truly, Madame, there was some¬ 
thing there. 

Hallowe'en book. 


Madame: Indeed? What was it, a mouse? 

Louise : A ghost. 

Madame : There is no such thing, as you 
know very well, Louise. 

Katherine: It looked like a skeleton. Ugh! 
[Shudders.] It was horrid! But we did see it, 
all of us. 

Madame: Or you imagined you did! Now 
why do I find you, Louise and Dorothy, out of 
your room at this time of night? And why this 

Virginia [looking down as if just remember¬ 
ing her disguise] : Why, it was Hallowe’en, and 
we thought we’d have a little fun. 

Madame: I see. And you tried to scare 
others, and so worked on your own nerves that 
you imagined you saw ghosts yourselves. Well, 
I think perhaps you have learned how pleasant 
such a shock really is, so no more punishment 
is necessary. You may remain here together the 
remainder of the night to think it over. 

Louise: Oh, Madame, please! 

Virginia : Please let us go to our own room ! 

Dorothy : And we’ll take any amount of 
punishment, if you’ll only let us sleep some¬ 
where else. 

Katherine: We can’t sleep here, Madame. 
We’d be scared to death by morning. 


Hallowe'en book. 

Madame: But surely you girls do not really 
believe that you actually saw a ghost ? 

Dorothy: We did see it, Madame, truly! 

Madame : But there are no ghosts. 

Louise: Well, we saw something and we’ve 
no desire to see it again. I won’t stay. I’ll jump 
out of the window and run away! 

Madame : As you came in, I suppose ? 

[Girls look at one another, in surprise .] 

Madame: Oh, yes, I know all about it, even 
to the ghost. [Raises voice.] Miss Fairlee! 
[Miss Fairlee comes into sight, still in the robe, 
but with mask removed.] 

Madame: You see, girls, you were not the 
only Hallowe’en masqueraders tonight. 

Miss Fairlee: You see, girls, I happened to 
overhear your kind plans to scare me, as well 
as your schoolmates, and while you were wonder¬ 
ing just who would be scared, I wondered, too, 
that was all. 

Dorothy: And you told the other girls? 

Miss Fairlee : I thought it only fair to let 
them know that if they saw ghosts tonight it 
would be some of their mischievous schoolmates. 
I thought, however, that Katy was to be away 
tonight, so I did not warn her. The rest, how¬ 
ever, is only known to those now present. While 
Madame thought best to teach you a lesson, she 

Hallowe'en book. 


did not wish to expose you to the ridicule of the 
entire school. But—who got scared, I wonder ? 

Louise: Oh, we did, all right. But you’re a 
dear, Miss Fairlee, just the same, and so is 
Madame. We’re really ashamed of ourselves, 
and I for one will never play ghost again. 

Virginia: Nor I. 

Katherine : I’ll try to keep the rules in future, 

Dorothy: If we get to»o smart, just say 
“Hallowe’en,” and we’ll be meek as Moses. 

Miss Fairlee: No, say “Who’ll be scared, I 
wonder ?” 

Louise : That would make us meek, I’m sure. 

Madame: And now, young ladies, I will say 
good night, or rather, good morning. We had 
better get what sleep we can before daylight. 
Come, Miss Ghost. Come, Louise and Virginia. 

[They pass out t with general “goodnights.”] 

Dorothy: Well, we know now who’s afraid 
of ghosts, at any rate! 

Katherine: I should say so! [Girls turn 
toward wardrobe. Dorothy straightens curtain.] 

Dorothy: I shall dream of ghosts, I know. 
If I scream, pinch me. 

Katherine: With pleasure! 



Hallowe'en book. 


For sixteen girls. They wear dresses of 
black mosquito netting or crepe paper, black 
shoes and stockings, and black hair ribbons, if 
any. The object is to make them as inconspicu¬ 
ous as possible. The stage is darkened. Each 
girl carries a lantern. These should be small, 
and of the “dark” variety. A common lantern 
may be made to do, or a Japanese lantern, but 
the dark lantern, or a pocket flashlight, will 
perhaps be more realistic. They march with a 
light, “springy” step. 

Fig. 1. Enter one at a time, march to form 
row in back, swinging lanterns. 

Fig. 2. March down to front, making lights 
dance up and down. If the platform will not 
accommodate them all in a row, make two rows. 

Fig. 3. Raise and lower lanterns, alternately 
half going up while the others come down. Con¬ 
tinue through three measures. 

Fig. 4. Half march to back. All face centre. 
March to meet, dancing lights, raise lights high, 
and pass through, march on to opposite side, 
lights dancing. Turn and repeat. 

Fig. 5. Half of each row march to each side. 
Face centre, and repeat figure 4. 

Fig. 6. Two from each side march to back, 
two to front, making four on each side. Face 



Fig. 7. March to centre, and around in a 
circle, swinging lights, half high, half low. 
March backward to place. 

Fig. 8. March to centre, dancing lights, 
around in circle, half the lights held in, half 
out. March back, two passing to each side, 
two to each corner. 

Fig. 9. Each couple dance around each other, 
holding lights first high, then low, but never 
alike. Dance around each other in place, then 
continue to do so while moving toward centre. 

Fig. 10. At centre, march around in circle, 
dancing lights, then back to places as they came 
down in figure 9. 

Fig. 11. Form in four sets of two couples 
each, in corners. Each set advance to meet 
partners, then back again, twice. 

Fig. 12. Each set dance around in circle, 
circles moving as near as possible to centre with¬ 
out colliding, then back again towards corner. 

Fig. 13. One in each set holds light high, 
others dance around her. 

Fig. 14. Two in each set hold lights high, 
others dance under and around. 

Fig. 15. Three in each set hold lights high, 
near each other. Fourth dances in and out and 
around them. 

Fig. 16. All four dance around, lights high, 
then back to position as in figure 11. 


Hallowe'en book. 

Fig. 17. Two diagonally opposite in each 
set march to meet, dance around each other, 
then march backward to places. 

Fig. 18. The other two in each set repeat 
figure 17. 

Fig. 19. Opposite partners in each set repeat 
figure 17. 

Fig. 20. Other pair in each set repeat figure 

Fig. 21. Both pairs in each set repeat figure 
17 at once. 

Fig. 22. March to form two sets of four 
couples each at either side of platform. Repeat 
figure 21. 

Fig. 23. First pair in each set raise lights 
high. Others march through under lights, and 
around in two circles. When second couple has 
passed under for the second time they raise their 
lights just in front of the others, and the rest 
repeat the figure. Then third couple raise lights, 
and fourth couple do the figure. When all the 
lights are held high, dissolve the arch by march¬ 
ing through it, and march to position as in 
figure 22. 

Fig. 24. Inner lines form four arches across 
platform. Others dance in and out and between. 

Fig. 25. Form two lines on sides of plat¬ 
form, march to back, across back in two lines, 
back line swinging lights high, front line low. 

Hallowe'en book. 


Fig. 26. March down diagonally to opposite; 
front corners, crossing at centre, and repeat 
figure 25 at front, then up to opposite back 
corners and form two lines. 

Fig. 27. Front line march to front, face 
toward left. Back line face toward right. 
March across platform, make sharp turn and 
march across again, as many times as space will 
allow, lines passing at centre. Continue till lines 
are in opposite places from where they started. 

Fig. 28. One line march to each side, one 
facing front, the other back. Repeat figure 27, 
marching up and down, instead of across plat¬ 

Fig. 29. March around sides, and take places 
four on each side. 

Fig. 30. Hold lights high, and dance around 
in places. 

Fig. 31. March around in a large circle. 

Fig. 32. Wind a spiral, and unwind. 

Fig. 33. March in large circle, then half step 
inside. March in two circles, lights dancing. 

Fig. 34. Inner circle turn and march the 
other way. 

Fig. 35. Step back to places in large circle, 
but facing partners. Weave in and out, crossing 

lights high with first one met, low with next 
one, etc. 


Hallowe'en book. 

Fig. 36. Make circle large as possible, all 
face centre. All march down towards centre 
till they meet, turn, and march back. 

Fig. 37. Form four lines across back. One 
line at a time dances down to front, waves 
lanterns toward audience, waves them over 
heads, toward audience again, then each one 
dancing round and round till they reach centre, 
dance around in a circle, and off platform. 
Each line repeat fig. 

[In all the figures, the lights should he kept 
swinging or dancing in some way. They should 
never he entirely still, hut should not move in 
unison .] 

The Brownies’ Frolic 

[Seven small boys are dressed as Brownies, 
in tight-fitting suits of brown cambric. The 
trousers should continue on, like stockings, and 
end in pointed toes, which may be stuffed a bit. 
They should button to the plain waist. Both 
should be left full enough in front to stuff out 
into the approved shape for a Brownie. A close- 
fitting brown cap, ending in a peak, is also worn. 
Each carries a Jack-o’-lantern, in which the 
candle should be firmly fixed. 


Fig. 1. One Brownie pokes his head in the 
door, winks at audience, then runs in and sets 
his lantern down at front of platform, in centre. 

Hallowe'en book. 


and runs out. Second Brownie does the same, 
leaving his lantern at extreme right end. Third 
Brownie leaves his lantern at extreme left end. 
Next two Brownies enter together, set theirs 
between the one at right end and that at centre. 
Last two do same, filling in places at left. These 
pairs also run out after placing lanterns, leaving 
a row of seven grinning Jack-o’-lanterns. 

Fig. 2. First Brownie steps on platform, 
somersaults to centre, then sits grinning at 
audience, from centre, feet stuck out before him. 
Second Brownie peeps in, then tiptoes in, and 
pounces on Brownie number one, bringing him 
down to floor. They grapple, roll over and 
over, then rise, and joining hands, caper about 
stage. All these maneuvers must be well back 
from lanterns. Third Brownie runs in, and 
forcibly puts himself between the others, and all 
caper together. Fourth runs in, tears one away 
from the trio, and they caper around in two 
pairs. Next two run in together, and all caper 
in three pairs. Last one runs in. All surround 
him, join hands, and caper around him. 

Fig. 3. He slips under between the joined 
hands, and runs to front, where he stands behind 
first lantern a moment, grins at audience, jumps 
up into air with a whoop, then makes an elaborate 
and funny bow to audience. When he broke cut 
from centre of circle, another Brownie took his 
place. This one now breaks out, and runs to 
last lantern, where he repeats the maneuvers of 


Hallowe'en book. 

the other. Each in turn does so, the third stand¬ 
ing behind lantern number three, the next 
behind lantern number five. The fifth Brownie 
goes to number four, while the last two, who 
were left with joined hands when he slipped from 
circle, run down together, and take position 
behind lanterns two and six. Do not try to 
have them bow alike—the more difference, the 

Fig. 4. All run lightly backward, to back of 
stage, where they squat, or “scooch” down, and 
hop to front in that way. 

Fig. 5. All spring suddenly up, run around 
stage, winding and unwinding a spiral, then run 
to front. Then two run to back corners, two to 
sides, and one to centre, the two at ends of line, 
simply turning. 

Fig. 6. All run to centre, join hands, and 
prance around central Brownie. The central 
Brownie joins ring, all put arms around each 
other and hop up and down in a bunch—what 
the children call “a bundle of rags.” All run 
to front, stand behind lanterns a moment and 

Fig. 7. Each takes up his lantern, and all 
march sedately to back, where they stand 
perfectly still for a moment or two, then all 
begin to sing. 

[Every time they sing u The Brownies are 
coming” they take a step forward. Plan these 

Hallowe’en book. 


steps so as to have them reach the front at last 
line of verse. At end of verse they march back¬ 
ward, in time to the music, till back is again 
reached, then sing second verse, advancing as 


Tune: “The Campbells are Coming.” 

The Brownies are coming, oh ho, oh ho! 

The Brownies are coming, oh ho, oh ho! 

The Brownies are coming, with gay Jack-o'-lanterns, 
The Brownies are coming, oh ho, ch ho! 

We'll dance and caper away all night. 

To mischief do is our delight. 

And then when the first streaks of morning are showing, 
We’ll scurry away in the gray dawn’s light. 

The Brownies are coming, they’re on the way. 

The Brownies are coming, their pranks to play. 

The Brownies are coming, to keep Hallowe’en, oh. 
We’re coming. You’d all better indoors stay! 

The Brownies are coming, oh ho, oh ho! 

The Brownies are coming, oh ho, oh ho! 

The Brownies are coming, all brimful of mischief. 

The Brownies are coming, oh ho, oh ho! 

The Brownie band is so freaky and gay. 

They’ll practice all sorts of spooky play. 

And if when they come they catch one of you napping, 
They’ll scare you most out of your skin, ha. hey! 

The Brownies are coming, they’re on the way, 

The Brownies are coming, their pranks to play. 

The Brownies are coming to keep Hallowe’en, oh, 
We’re coming. You’d all better indoors stay! 

[They set their lanterns down again in front 
of them, while they recite. After speaking, each 
whirls around in his place.] 


Hallowe'en book. 


The liveliest thing in the whole broad land, 

Is just a bright little Brownie band. 


The mischief they can accomplish, oh. 

You couldn’t even begin to know. 


We tease the dogs, we scare the cats. 

We fly through the air on the backs of bats. 

Fourth : 

With Jack-o’-lanterns weird and grim. 

We frighten children in corners dim. 

Fifth : 

With bad little spooks we kick up our heels 
In twinkling hornpipes, jigs and reels. 

Sixth : 

We make strange noises, shrill and higjt, 

To frighten all the passersby. 

Seventh : 

We like to make the ’fraid-cats run, 

And laugh and shout to see the fun. 


On other nights, we are helpful and good, 

And behave as well as a Brownie should, 

But Hallowe’en is for mischief rare. 

With blood-curdling yells we’ll raise your hair. 

[All give a long, shrill shriek, then say, nod¬ 
ding emphatically.] 

Just like that! 

How do you like the Brownies bright? 

Look out! We’ll be at your house tonight! 

Hallowe'en book. 


[All caper around in a circle, then caper to 

front, take up lanterns, and stand in a row.] 

Seventh : 

Seven little Brownies, full of impish glee [looks 
toward entrance.] 

I see an old witch. Wait, marm, for me [hurries out ] ! 

Sixth : 

Six little Brownies. Pointed toes will prance! 

I’m going to catch a little girl, and make her come and 
dance [runs out]. 

Fifth : 

Five little Brownies in a jolly, grinning row [looks at 

Say, I shan’t tell you fellows where I plan to go 
[runs out]. 

Fourth : 

Four little Brownies hop up and down for fun. 

I know the rarest bit of sport— [pushes back number 
three, ivho tries to go, too] 

No, no! It just needs one [runs out] ! 

Third : 

Three little Brownies shake their sides and double up 
in glee. 

Say, if you meet a fat old man who’s scared—he’s just 
met me [runs out]. 


Two little Brownies caper round in wildest Brownie joy. 

Away out in the cornfield, you’ll find a scared small 
boy [runs out]. 


Hallowe'en book. 


One little Brownie all alone, as solemn as can be! 

He’s trying to think up the biggest mischief yet, you see. 
[Studies intently a moment, then goes on.] 

I’m going to hide in a graveyard, behind a tall tomb¬ 

And when I hear a passer-by, I’ll give a hollow groan 
[runs out]. 

[After a moment or two, all run in again, 
without lanterns, form line across back, and run, 
all abreast, to front.] 


Oh, ho! You thought we all had gone, yet here we 
are; and, say! 

You’ll see us to your sorrow before the dawn of day! 

[All somersault to back, then rise, and run out, 
with shrill yells.] 

Ten Little Brownies 

[A march and drill for ten little boys. If the 
singing is omitted, any even number may be used. 
Dress them in Brownie suits, as described in 
“The Brownies’ Frolic,” in this book. They 
carry Jack-o’-lanterns.] 

MARCH (First Part). 

1. They enter, and form line across back, so 
timing their entrance, that each comes in sight 
as his number is sung. In singing second verse, 
they all take a step forward, at the beginning 
of each line, all together. At “one little” first 

Hallowe'en book. 


Brownie marches on down to front. At “two 
little,” second Brownie starts, etc. Each marches 
on till front is reached, then halts, regardless of 


Tune: John Brown Had a Little Injun. 

Here comes one little Brownie, here comes another 
little Brownie, 

Here comes the third little- Brownie, here comes 
number four. 

Here come the fifth and the sixth little Brownies, 

Here come the seventh and the eighth little Brownies, 
Here come the ninth and the tenth little Brownies. 
Now there are no more. 

We’re all gay little Brownies, we’re all bright little 

We’re all cute little Brownies—ten little Brownies gay. 
One little, two little, three little Brownies, 

Four little, five little, six little Brownies, 

Seven little, eight little, nine little Brownies, 

Ten little Brownies gay. 

2. Raise lanterns high, pause a minute, then 
turn towards centre, and half march each way. 
March up sides, and form line across back. 

3. Place lanterns on heads, and march down 
all abreast, turn, and march up as before. 

4. Half place lanterns on right shoulder, the 
others on left shoulder, march as in three. 

5. Take lantern, march as in three, swaying it 
from side to side, not vigorously enough to blow 
out the candle inside, however. 


Hallowe'en book. 

6. Every alternate boy hold lantern high—the 
others hold lantern as in five. March down, then 
all raise them high, and continue as before. 

7. Lanterns on heads, march down to front, all 


1. Take lanterns from heads, raise high, and 
return to heads. Each figure is to be repeated 
four times. 

2. Take lanterns from heads, and bring down 
in front, then return. 

3. Raise lantern high, return to head, lower it, 
return to head. 

4. Lower lantern, hold for a measure, then 
raise to right shoulder and return. 

5. Raise to left shoulder and return. 

6. Place on right shoulder, then on left. 

7. Swing lanterns to and fro, not too far. 

8. Alternate boys raise lanterns, while others 
hold in front. Hold through a measure, then 
half raise while others lower, repeating this 
raising and lowering four times. 

9. Boys whose lanterns are held low, step in 
front of others. Front row place lanterns on 
their left shoulders. Back row place their 
lanterns on right shoulders of boys in front of 
them. Hold position through the time usually 
allotted to a figure. 

Hallowe'en book. 


10. Front row kneel on one knee, hold lantern 
on other knee, back row place lanterns on heads 
of kneeling boys. Retain positions, as before. 

11. Back row place lanterns on their own 
heads, front row rise, place lanterns on heads, 
and step back into place. 

12. Lanterns still on heads, turn to face 

MARCH (Last Part). 

1. March up sides to back, march to meet in 
back, then march down centre, in pairs, making 
two lines down centre. Retain this position, 
while back pair holds lanterns side by side, as 
high as convenient. Pair just in front of them 
holds pair of lanterns just enough lower to allow 
the back pair of lanterns to be plainly seen. 
Next pair hold theirs, the same distance lower 
than these, and so on. 

2. Retain last position through a measure or 
two, then all raise lanterns high, but in same 
relative position, that is, side by side, forming a 
sort of arch. First pair lower lanterns, and 
march, singly, down under this arch. When they 
have passed entirely through, next pair do same, 
and so on, dissolving arch. 

3. Place lanterns on shoulder, march to front 
corners, up sides to back. Form line at back. 
Half place lanterns on heads. Every alternate 
boy step from line, and holding lantern in front 


Hallowe'en book. 

of him, follow leader, as he winds in and out of 
the back line, marching behind first boy, in front 
of second, and so on. When the line has passed 
behind last boy, it passes along in front of him, 
and forms line in front of other line. 

4. Back line of boys repeat figure three, and 
line up in front of other line. Continue these 
two figures till front is reached. 

5. One line march to right, the other to left, 
up sides to back, meet at centre and march in 
large circle, singing. At “ten little” one boy 
leaves line and passes out, the rest doing the 
same as their number is called. 


Off go the gay little Brownies, off go the gay little 

Off go the g;ay little Brownies, ten little Brownies gay. 
Ten little, nine little, eight little Brownies, 

Seven little, six little, five little Brownies; 

Four little, three little, two little Brownies, 

One little Brownie gay. 

[This march and drill is very simple and easily 
learned, and can be given by quite small boys.] 

Hallowe'en book. 


What Do You Know 
About Ghosts? 

A Farce for Four Boys. 


Ted Knight, Tom Day, Tim Donahue and 
Washington Jefferson Jackson Lincoln. 

[Enter Ted and Tom, from opposite sides, if 
possible. Each is clothed in a sheet, in proper 
ghost fashion. They advance, and gravely bow, 
then shake hands, and then execute an impromptu 
dance, ending by taking off their white masks, 
and throwing themselves down.] 

Ted: Well, brother Ghost, how went it? 

Tom : Bum! The teacher wasn’t scared at 
all. Remarked aloud that he’d always wanted 
to investigate an authentic ghost story, and he 
wondered if you could shoot a hole through a 
ghost. Then he started to stroll down to the 
gate, but this ghost vanished instanter. You 
can’t fool Old Gray! Then I tried Jacky Down¬ 
ing, and the impertinent youngster threw stones 
at me! He hollered after me that his big brother 
was out ghost hunting, tonight, and then he up 
and called him, and I had to run for my life. 
Playing ghost isn’t a bit of fun! I haven’t really 
scared a single one but my little sister. Not any 
more in my dish! 


Hallowe'en book. 

Ted: Gee! What luck! Must have been a 
hoodoo round. Now IVe had great fun. I sent 
foolish Jake running down the lane to the poor- 
house, bawling like a lost moon-calf! I chased 
a crowd of kids clear down to Hog Point, and 
was told “Faw de Lo’d’s sake, Rastus, yo’ jes 
go right back wha yo’ come fum! I reckon I 
aint a gwine ter die yit, an’ Pse a gwine ter git 
merried a week fum ternight, shuah! So yo’ jes’ 
go right back, Rastus, caze I don’t go wid yo’ 
dis trip. No use ter wring yer hans, honey. 
Reckon I needs a libe husban’ as well as a dead 
one, an’ yo’ hasn’t any power ober me, caze Ize 
dun got a chawm. roun’ my nake. It’s de lef’ hin’ 
foot ob a rabbit, what I cotched myself on de 
dark ob de moon! Yo’ go right back now, 
Rastus!” Well, by that time I was nearly 
bursting with trying not to laugh, and I went 
right back, as she told me. 

Tom : Gee! That was rich! Who do you 
suppose Chloe is going to marry? There isn’t a 
darkey in this town but she and Washy. 

Ted: Yes, there is. There’s one over to 
Doctor Moore’s, working in his stable. Maybe 
it’s him. 

Tom : Here comes Tim. What luck, Tim? 

Tim : Be jabbers ! I’ve shot a bear! [Laughs 

Ted and Tom : A bear? Shot a bear? 

Tim : Begorra, I hev, thin ! 

Hallowe'en book. 


Tom : There aren’t any bears round here! 

Ted: Have you. shot anything, really, Tim? 

Tim : Bedad, wasn’t I a tellin’ yez that I shot 
a bear? . 

Ted: A bear? A coon, more likely! 

Tim : Come to think of it, mebbe it was a 
coon. Yis, I believe it was. But for what are 
yiz rigged up in that style, fur? Yez looks like 

Tom : We’re ghosts, Tim. 

Ted: Spooks, you know; “ha’nts” as Washy 

Tom: By the way, where is Washy? He 
hasn’t reported yet. 

Tim : Oh, ghosts, is it, yez are? And where’s 
the pint? 

Ted: The pint? 

Tim: Yes. What was yez after aimin’ at? 

Tom : Why, to frighten folks. It’s Hallow¬ 

Tim : And so yez have been a frightenin’ folks. 
Women and children, belikes! Begorra, I’d 
rather go a huntin’ and shoot a bear—or was it 
a coon, now? 

Ted: I don’t believe you shot anything at 
all. Where is it? 


Hallowe'en book. 

Tim : Sure, an’ I didn’t think it was good 
to ate, and it’s too early in the sayson for the 
shkin to be anny good, so I let it be. 

Ted: Show it to us. 

Tim : Come to think of it, I believe it wasn’t 
kilt, intirely, but got up on its hind legs and 
run away. [Laughs.] 

Tom: Here’s Washy now. Hi, Washy! 

Well, of all the rigs to play ghost in! -{Washy 
enters , zvrapped in a long black coat, much too 
large around, zvhich covers him from head to 

Ted: Thought you were going to be a ghost, 

Washy : I is a ghost, isn’t I ? 

Tim : A pretty black ghost, I be a thinkin’. 

Washy: Shuah. I’se a black man’s ghost. 
[Boys laugh, and roll around in glee.] 

Tom: But ghosts are white, Washy, awful 

Washy: Yas, I reckon dey am—white man’s 
ghoses, but de ghoses ob black men am black, 
ob cose. 

Tim : Sure, an’ that same sounds raysonable, 

Ted : What an idea! A ghost is always white. 
Say, Washy, did you really try to play ghost in 
that rig? 

Hallowe'en book. 


Washy : Ob cose I did. I’se de ghost ob 
my grand-daddy, and he war de blackest nigger 
in Louisianny, my grand-mammy say. 

Ted: But you ought to have rigged in white, 

Washy: Warn’t nuffin white erbout him, 
’cept de whites ob he eyes, an’ him teef. He 
war black clean to de bone—black as a coal, an* 
I know his ghost would be black too. 

Tom [still laughing ] : What a notion. Well, 
how did you succeed, Washy? Did you scare 
any one? 

Washy : I reckon I did, honey. I dun 
scared Washington Jefferson Jackson Lincoln 
mos’ to deff, I reckon. 

Tim: Begorra, he was frighted of himself! 
A brave ghost, bedad! 

Tom: Did you scare your grandmother? 

Washy: Scare her? Scare my grand- 

mammy? No, I didn’t. She scareded me, I 

Ted: Tell us about it, Washy. 

Washy: Why, T war a gwine downstairs, a 
step-step-steppin’ like our ole cat, sof' an easy, 
when my grand-mammy she open de do' an’ 
she say “Yo Washington Jefferson Jackson 
Lincoln, whar’s yo’ a gwine?” An’ I says, “Ise 
jes* a gwine out a minute, grand-mammy, an’ 


Hallowe'en book. 

she says, “Yo’ jes’ go right back, Washington 
Jefferson Jackson Lincoln. Dis am Hallowe’en, 
an’ de ghoses ’ll git yo!” I tole her an’ I tole her 
that I warn’t afeared, but she wouldn’t lemme go. 
Den I tole her I wanted to visit grand-daddy’s 
grabe, jes’ so he wouldn’t feel lonesome like, 
an’ she say she a-gwine ter walk in de grabeyard 
ternight herse’f, wid Mr. Moses Joshua Isaiah 
Hezekiah Johnsing, what’s Doctah Mo-ah’s 
gen’ral factotium an’ stable manager, and so 
Grand-daddy didn’t need me, an’ I war to go right 
to bed. So I waited, an’ I waited, till bimeby 
I heered dat ar triflin’ niggah come a knockin’ 
at de do’; an’ he say, sof’ as mud, an’ sweet as 
honey, “Now, mah lil honey baby, yo’ jes’ come 
’long o’ me, an’ I’ll show yo’ dat dey ain’t no 
ghoses, an’ no Rastus, an’ no nuffin’ ter hindah 
yo’ an’ me being mahried.” So off dey goes, an’ 
I slip on de’ ole coat an’ cut ahead to git dar fust. 

Tim : Git where first? To the priest’s house? 
Did yez want to git married, too ? 

Washy : No, to de grabeyard. I war a gwine 
ter lay down on Grand-daddy’s grabe, an’ when 
she come erlong wid dat ole white wooled stable 
niggah, I war agwine ter groan, an’ rise up, 
slowlike, an’ tell her if she gwine git mahried, 
Ise agwine ter come fer her, shuah. 

Ted : Pretty good! And did you? 

Washy: Did I? I met two free on der way, 
an’ dey wasn’t a bit skeered, an’ when I ax ’em 

Hallowe'en book. 


“Why don't yo’ run? Don't yo know Ise er 
ghos’?” Dey laff and laff, an’ stop ter argify 
'bout ghoses being white, when I knows my 
Grand-daddy’s ghos' mus’ be black, ob cose. 

Tom : But Washy, really— 

Washy-: Now yo’ look aheah, Tom Day! 
Did yo’ ebah see a white niggah? 

Tom : No—but— 

Ted: But ghosts are white, always, truly, 

Washy: Don’ yo’ argy wid me, Ted Knight. 
A niggah’s a niggah, wheddah he dead or alibe, 
an’ a niggah’s ghos’ am black, an’ dar’s a black 
fist what’ll probe it, if anybody says much moah. 
I’se tiahed ob it, an’ Ise de bigges’. Dis’ ghos’ 
am black. Yo’ undahstand? 

Tim : To be shure he do, Washy. Go on 
with the adventure of the black ghost. Did you 
git to the graveyard? 

Washy: Yassah, I did, aftah a while; but 
I’d bin a boddahed so much dat my grand- 
mammy an’ her lober had got dar first, an’ dey 
war a sittin’ right plumb on grand-daddy’s grabe, 
an’ dar wasn’t a bit of a chance ter creep up an’ 
lay down on it, so I crope up sof’ behin’ ’em 
bofe, an’ was jes’ agwine ter gib a long groan, 
real solemn like, when—when somebody shot 
me ^ * 


Hallowe'en book. 

Tim: Shot you, Washy? Did they kill you? 

Washy: Yassah, dey did! Leaseways, I got 
half-kilt twict, so it’s jes’ de same, zacly. 

Ted: How’s that? 

Washy : Why, dem bullets dey hit me ebery- 
whar. Reckon dey’s holes all fru an’ fru my 
laigs an’ body, but dey bounced off’n my haid. 
Day stung and bleeded drefful, an’ I jumped up 
wid a mighty yell dat brought dat ole stable 
niggah ter his feet quicker’n lightnin’, and he 
started off like a rabbit. But my grand-mammy 
she jes’ reach out an’ cotch me, an’ she ax me 
whar’s I been an’ what’s I a doin’ an’ caze why 
I all dressed up in my grand-daddy’s coat, an’ 
all de while she’s a axin’ dem ar questions, she’s 
a whalin’ me crost her knee wid her ole slippah. 
An’ den she say “Now, yo’ Washington Jefferson 
Jackson Lincoln, yo’ jes’ take yo’ foot in yo’ 
hand, an’ wabble yo’ se’f home, whilst I hunts 
up dat ole fool niggah, an’ splains ter him dat 
it wasn’t Rastus, but jes his pickaninny grandson, 
a tryin’ ter be smart an’ play ghos’.” She 
nebbah said I oughtah been a white ghos’, neithah, 
so a black man’s ghos’ am black! So now! 

Tim : So it was a coon, after all! I thought 
to be shure it was a bear! 

Washy: Thought what war a bar? 

Tim : Why, I was a walkin’ along the road, 
with me hands in me pockets, tryin’ to find a 
penny that I knew wasn’t there, whin what 



should I see but somethin’ big and black, a 
crapin’ slow and softlike inter the graveyard. 
Thinks I to meself, “That’s a bear, and I might 
as well shoot him as to let the spooks and the 
banshees shcare him to death,” so I craped up 
behint the craychure, and I let drive wid me 
payshooter. The baste jumped up on the two 
hind legs of him, wid a shquale that would shcare 
a banshee hersilf, and started to run. An an¬ 
other grate craychure started, too, an’ he run in 
my direction, so I jist made meself shcarce. If 
I’d a known that the bear—or rather, the coon, 
was gettin’ what Paddy give the drum, shure 
I’d a stayed and seen the thing through. Ye see, 
byes, I did shoot a coon, and there’s the carkiss. 

Washy [advancing tozvard him] : What yo’ 
mean by shootin’ me, Tim Donahue? Ise a 
gwine ter give yo’ a good whoppin’ fer dat, I is. 

Tim : Oh, yez are, are yez? Can’t yez take a 
joke when yez a playin’ one? 

Washy: Yo’ knowed ’twarn’t no bar! 

Tim : Did I now? But thin, ye see, I thought 
if it wasn’t a bear, mebbe ’twas a coon, an’ it 
was, yez see. 

Washy [taking off the big coat] : I’se er 
gwine ter teach yo’ to be cahful where yo’ shoots 
at, I is. 

Tim : Be aisy, now, Washy. I don’t want to 


Hallowe'en book. 

Washy : Well, yo’s gottah, er I’se a gwine ter 
mop de groun’ wid yo. [Washy advances; Tim, 
still laughing, dances around, just out of reach.] 

Ted: Here comes your granny, Washy! 

Washy: Good gracious, dis’ chile’s a gwine 
home. [Runs out.] 

Tim : Is she a cornin’, Ted, ra’lly? 

Tom : Well, someone is, and we don’t want 
to be caught in these togs, so good night! 

[Tom and Ted run out ] 

Tim [picking up the coat, which Washy has 
forgotten, in his hurry] : So a black man’s ghost 
is black, is it? Is it, now, I wonder? [To 
audience.] What do you know about that? 
Sure, I’m goin’ to ask the tacher. He ought 
to know. If a white man’s ghost is white, why 
shouldn’t a black man’s ghost be black, amnyhow ? 
Sure, an’ it sounds rale raysonable to me. [To 
audience.] What’s your opinion on the subject? 
What do yez know about ghosts, annyway ? Sure 
if the tacher don’t know, I’ll wroite to the iditor 
of the [name a town newspaper] and ask him. 
Iditors know iverything! [Walks out, coat on 

Hallowe'en book. 


The Haunted House 

A dialogue for two boys and three girls. The 
youngest, Effie, should be a very small child, 
preferably but three or four years old. 

[Leon, Floyd, Hazel and Phyllis enter, run¬ 
ning, and stop short, gazing toward the farther 
corner of stage.] 

Leon : What’s the matter ? 

Floyd : Matter! Who said anything was the 
matter ? 

Leon : What made you stop so quick ? 

Floyd: What made you? 

Leon : Why, just because you did. 

Floyd : I stopped because the girls did. I 
wasn’t going to leave them alone, was I ? 

Leon: Well, why did the girls stop? 

Phyllis : Why, we were tired. 

Hazel: And out of breath. 

Leon : But we were almost there. 

Hazel : Perhaps that is why we stopped. 

Phyllis : We don’t want to run pell-mell into 
a haunted house, do we? 

Leon : Why not ? 

Phyllis : Why, we must go in easy, and slow, 
and—and silent, or we won’t see anything. 


Hallowe'en book. 

Leon : We won’t anyway. 

Floyd : How do you know ? 

Leon : Everyone knows that ghosts aren’t 
real! It’s just a bit of Hallowe’en fun. Come 
on, let’s go on and see. 

Hazel: You go first. 

Leon : No, all together. 

Hazel : But that’s no way to go into a haunted 
house! Every one in town knows that this ghost 
never appears to more than one at a time. 

Leon : Nor to that one, either. 

Hazel : Why, yes, it does ! Old Mr. Hemen- 
way saw it last Hallowe’en, and Aunt Chloe has 
seen it two or three times. 

Leon : Old Hemenway was drunk, and Aunt 
Chloe is an old-fashioned darkey. They always 
believe in “spooks and ha’nts.” 

Phyllis: Don’t you, Leon, truly? 

Leon : Of course not. 

Floyd: What about this particular ghost, 
anyway? Is it a he or a she ghost? And why 
does it inhabit this particular tenement? 

Hazel: Oh, I forgot you hadn’t lived here 
long, Floyd. You see, a good many years ago, 
a man named Smith lived there. 

Floyd: Smith? Not a very romantic name. 

Hallowe'en book. 


Phyllis : It wasn’t his real name. He was 
a nobleman of France, in exile, and he refused 
to tell his real name. “Call me the most common 
name in your language,” he said, “My own is 
buried forever.” 

Floyd: I see. So, of course, they called him 
John Smith. 

Hazel: Yes, but his old man-servant always 
would call him “Marquis,” but he said it in a 
queer, foreign way, and so he came to be known 
as “Markee Smith,” and sometimes as just “the 

Phyllis : He had an old woman-servant, too, 
known as “Old Marie,” but it was some time 
before people found out that he had a lovely 
daughter, so closely did he keep .her. This 
daughter, whose name was Elouise, was very 
beautiful and very lonely, and when she met 
young Howell, the artist, they fell in love. For 
a little while they were very happy, then they 
were discovered. 

Floyd: How romantically you reel it off, 

Hazel: That’s just the way it’s always told. 
And the cross old parent ordered him off the 
premises, and shut her up in her room—that 
corner one, there, in the third story. See? 

Floyd: Sure I see. Well, what next? 


Hallowe'en book. 

Phyllis : She pined away, and wouldn’t eat, 
but just cried her heart out for her lover. 

Leon: How sad! 

Hazel: You needn’t make fun. It was sad. 
Finally, he trained a carrier pigeon to take 
messages between them, and they planned an 
elopement. He was to come with a rope ladder, 
and shoot an arrow into her window, with a 
cord tied to it. By means of the cord she was 
to haul up the ladder, and make it fast. He 
would have a fast team around the corner, and 
they would be far off by the time she was 
missed in the morning. 

Floyd: He ought to have had an aeroplane. 

Hazel : Don’t be silly, Floyd! There weren’t 
any in those days. 

Floyd: But where does the ghost come in? 

Phyllis: Why, the old servant found it out, 
somehow. I believe she got hold of a note. Any¬ 
way, she told the old Markee, and he shot the 
lover at the foot of the ladder, just as she was 
fastening it. Elouise saw him fall, and in her 
haste to reach him, fell and broke her neck. 
When the old Markee saw that he had killed 
his daughter, he went raving crazy. 

Floyd: Pretty general catastrophe, I should 
call it. 

Hazel: They buried the lovers side by side 
in the old cemetery on the hill, and the old 

Hallowe'en book. 


servants disappeared. But no one has been able 
to live in the house since, because the ghost of 
Elouise walks all through it, wringing its hands 
and weeping for its lost lover. Lots of folks 
have seen or heard it. 

Floyd: Not really, of course. 

Hazel: Yes, really. 

Leon : Just ignorant, superstitious people. 
Come on, I’m not afraid. 

Phyllis : Then go alone, first. It only shows 
itself to one at a time. 

Leon : All right. Here goes. [He walks 
rapidly off stage, but comes running back.] 

Floyd : What’s the matter, old chap ? 

Leon : Nothing—only—I thought I’d let you 
go first, seeing as you’re a newcomer. 

Floyd: Bet you got scared! 

Leon : Bet you’re scared to go first. 

Floyd : I’m not! 

Leon : Do it, then. 

Floyd: I will. [Repeats the walking off and 
running back.] 

Hazel: What is it? Did you see anything? 
[Boys look at one another, sheepishly.] 

Phyllis: They did! Didn’t you, Floyd? 

Floyd : Did you, Leon ? 


Hallowe'en book. 

Leon : I saw something white in that window! 

Floyd: So did I, and it moved! Let’s go a 
little nearer, all of us, and see if it’s still there. 
[All advance a little, slowly, gazing intently.] 

Hazel: I don’t see anything. 

Floyd: Nor I, now. But it was there. 

Phyllis : Of course we don’t see it. It only 
appears to one at a time. It was the ghost. 

Leon: Nonsense! There aren’t any ghosts. 
I’m going again. [Goes out, more sloivly „ is 
gone a little longer, and comes running back.] 

Floyd: Well? 

Leon : I didn’t see it, but I heard it. It 
sounded as if it was coming down stairs with 
soft, patty footsteps, and—and I ran! One of 
you girls go. 

Hazel : Well, I guess not! 

Phyllis : I don’t want to hear it, I’m sure! 
I should dream of it for a week! 

Leon : You go, Floyd. 

Floyd : Guess it’s time we went home. I’m 
not afraid—but— 

Leon : But you’d rather be excused. Exactly. 
Let’s watch a few minutes, and see if it comes 
to the window again. [All huddle together.] 
[Enter Eihe.] 

Effie: You seen my kitty? 

Hallowe'en book. 


Phyllis: Your kitty? 

Effie: Yes, I loss her. She runned away. 

Leon : No, we haven’t seen her. See here, 
Effie, I wouldn’t go that way. 

Floyd: No, I think she went this way. 

[Pointing away from haunted house.] 

Effie: No, her didn’t. Boy saw her go this 
way. [Runs on, calling, (( Kitty, kitty!”] 

Hazel: She’s stopped right in front of the 
haunted house! She’s calling there! [Effie is 
heard calling the cat.] 

Floyd: Great Scott! She’s going in! She 
mustn’t! Effie! [All call her, loudly.] 

Phyllis : She’s gone in! Oh, dear! 

Leon : Then we must, Floyd. She mustn’t 
be frightened to death. She’s such a mite of a 

Floyd : She didn’t act a bit scared. 

Hazel: ’Cause she’s too little to know about 

Leon : Come on, old fellow. It don’t appear 
to but one at a time, they say, and anyhow— 

Floyd: We must save her. [They go to¬ 
gether, with a great show of bravery.] 

Phyllis : The idea of Effie going right in. 
Hark! [Effie is heard to utter a long-drawn 


Hallowe'en book. 

Hazel : That didn't sound as if she was 

Phyllis: She doesn’t know enough to be 
scared. But it’s awful bad luck to meet a ghost, 
just the same. [Enter the boys and Effie, the 
latter carrying a white cat or kitten.] 

Effie: I found mine kitty. Her was in that 
big house over there. 

Hazel: It’s white! 

Leon : Yes, she’s the ghost all right. To 
think of being scared by a cat! 

Floyd: And of course she sounded soft and 
patty, going down stairs, or up, whichever it was. 
What’s your cat’s name, kid? 

Effie : Mine kitty, that’s all. 

Floyd: Better name her Elouise! 

Effie: I will. It’s a pretty name. 

Leon : Just think of being so taken with that 
story that we were scared of a cat! Don’t you 
want to kick yourself? 

Effie: Was you scared of mine kitty? 

Floyd: It seems so. 

Effie: Her won’t scratch. 

Leon : Nor the ghost won’t either. Come on, 
I’m going home. No more haunted house hunt¬ 
ing for me! 

Hallowe'en book. 


Floyd: Nor me either. 

Hazel: Well, we weren't scared. 

Leon No, indeed, you knew it was a cat all 
the time, didn’t you? [Takes cat from Effie and 
advances tozvard audience, where he holds it up.\ 
And that, good friends, is the ghost of the 
beautiful Elouise ! Good night! 


Playing Brownie. 

A dialogue for six small children. 

Ted: I just hate Hallowe’en. They never let 
me have any fun! 

Ray: Nor me, either. Frank and Fred go 
off on Hallowe’en pranks, and Mamma always 
says Fm too little. 

Rob : My Mamma said I could go this year 
if Roy would take me, and he wouldn’t! He 
said he couldn’t bother with a kid tagging along. 

Ted: Kid himself! He’s only five years 

Ray : But five years is quite a lot. 

Rob : Well, in three more years we’ll go by 
ourselves, and we won’t let kids tag. If Baby 
fusses to go, I’ll say “No, sir!” 


Hallowe'en book. 

May [cis girls enter ] : No sir what? 

Rob : No sir, he can’t go. 

Eva*: Who can’t go where ? And when ? And 

Ray: Three questions at once! That’s just 
like Eva. 

Rob: Baby can’t go Hallowe’ening with me 
when I go. 

Ida : Oh, Rob, can I ? 

Rob: No, you can’t! 

Ida : Then you’re real mean! 

Ted: He isn’t going, Ida. His brother 

wouldn’t let him. 

Ida : My sister wouldn’t let me go with her 
either. She’s gone over to Eva’s. 

Eva: Yes, and she and Cora and Alice are 
going to do all sorts of nice things to find out 
who’ll be their husbands. 

May: And Alice said if we didn’t stay away 
we’d see ghosts and goblins. 

Eva: I’d like to be a ghost, and scare them 
till they swooned away. 

Rob:< What’s swooned away, Eva? 

Eva: I don’t know, but Lady Gwendolyn did 
it in the story Cora and Alice were reading last 
night. Lady Gwendolyn was frightened so she 
swooned away. 

Hallowe'en book. 


Ted: What was she ’fraid of? 

Eva : I don’t know. Papa took away the book 
and said it was trash. 

Ray: I’d rather be a goblin than a ghost. 
Goblins do lots of mischief. 

Ida: You can do enough mischief now, Ted. 
I’d rather be a fairy. 

May: Only bad faries are out Hallowe’en. 
I’d like to be a Brownie. They do nice things. 

Rob: Oh, say, let’s play Brownie. We’ll all 
think of something Brownie-ish to do, and then 
we’ll go do it. 

Ida : Oh, let’s! I’m a little Brownie named 
Floss, and I’m going to surprise a lady I know 
by doing the dishes while she puts her baby to 
bed. She’ll come down to the kitchen, and find 
them all done, and won’t she be s’prised? I 
know I’ll have time, for baby is teething, and 
fusses a long time. 

Rob: I’m going to go, and fill an old lady’s 
woodbox clear to the top, when she isn’t in the 
room. I bet she’ll think it was a Brownie, and 
put out a cookie for him to find. My Grandma 
makes fine cookies! 

Ida : What’s your name ? 

Rob: Flitter. What’ll you do, Ted? 

Ted: My name’s Prancer, ’cause I can run 
so quick. I’m going to run to Auntie’s, and help 
her cover her plants. 


Hallowe'en book. 

May: But you mustn’t be seen. Brownies 
never are. 

Ted: I’ll tell her I’m divisible, and she won’t 
look, I know. She can pertend, fine. 

Ida: You’ll tell her you’re what? 

Ted: Divisible, so she can’t see me. 

Ida: You mean unvisible, don’t you, Ted? 

Eva : I think it’s invisible. My name is 
Sharp Eyes, and I’m going to pick up all the 
threads and bits of cloth on the sewing room 
floor. Mamma had the dressmaker, today, and 
it’s awful. 

Ray: What’s awful, the dressmaker? 

Eva: No, the floor, Smarty. That’s your 
name. What will you do? 

Ray : Something smart, of course. Howl 
about you, May? 

May : I’m Happy Helpful. I’m going to help 
a little boy I know do his examples. 

Ray : Good for you; and I’ll help a little girl 
find the places on her map. 

May: And we won’t have to be indivisible, 
’cause we’re both Brownies. 

Ida: Well, I’ve got to go right off if I get 
those dishes done before the lady’s baby goes 
to sleep. 

Hallowe'en book. 


Rob [He has run off the stage, and nozv comes 
back] : Oh, I know the nicest thing! My 
Grandma says if we hurry, we’ll all be through 
by seven, and then, if we’ll come over there, 
she’ll have a Brownie Party. All our Mammas 
know and said we might. 

Ray: Oh, how jolly. Let’s do our Brownie 
work quick. 

The Others: Yes, let’s. [All hurry out.] 

A Hallowe’en Shadow 
Picture Show. 

Stretch a white curtain, smoothly, across front 
of stage. Place a lamp on a stand. Let the 
characters enter from the left (of the audience), 
and pass along to the right. Some one an-; 
nounces the name of each picture just before it 
is shown. The best light is one from an auto¬ 

1. Mother Hallowe'en. —This is a picture 
of an old, old crone, bent nearly double, with a 
nut-cracker chin and nose, knotted hands, hold¬ 
ing a cane, on which she hobbles slowly and 
painfully along. She wears a high peaked hat 
and a little shawl. Nose and chin may be cut 
from cardboard, and pasted to the real features. 
The knotted hands may be made the same way. 
The hat may be of newspaper. She may pass 


Hallowe'en book. 

out, or may remain near the exit, while her 
familiars pass before her. If this is done, each 
should bow before her before passing out. 

2. Some of Her Familiars. —As many or as 
few characters as one pleases may be used for 
this picture, but each should pass off before the 
next comes. There should be witches, goblins, 
elves, bats, cats, giants, dwarfs—anything weird 
that suggests itself. The nearer anything is to 
the light, the larger it will appear. Some may 
appear to come down, instead of from one side, 
by having them step over the lamp, which should 
be placed on the floor. Odd effects may be 
obtained by slowly raising or lowering the light. 
The cats, bats, etc., may be easily shown by 
pasting or sewing paper cut to the proper out¬ 
line, to the clothing of small boys. Remember, 
only the proper outline is necessary, and the 
outlay for materials is nothing, as any old paper 
or cardboard will do. 

3. The Jack-o'-Lanterns. —Several small 
boys enter, with pumpkins. Seat themselves, on 
floor, and proceed to make lanterns. These 
should really be already made, with holes for 
features cut from cardboard pumpkins, then 
covered with paper. At the proper minute, the 
boys take candles from their pockets, fix them in 
the lanterns, scratch the matches on shoes and 
trousers, and light the candles. In reality, they 
simply remove the paper, letting the light shine 
through the features. These will be very 

Hallowe'en book. 


realistic. After they pass off, let two or three 
little girls enter, and stand, whispering. Then 
let the boys re-enter, with Jack-o’-lanterns, and 
chase them from stage. 

4. Hallowe'en Tricks.— Have some of the 
more common tricks acted out by young people. 
Bobbing for apples, biting a hanging apple, par¬ 
ing apples, and throwing the peeling over left 

• shoulder, any trick that can be shown in panto¬ 
mime may be given. The curtain may be 
darkened while placing the tub, etc., by turning 
the light low, or covering it. 

5. The Fortune Cake.— A girl stands at a 
table, slicing a cake. Each does this in turn, 
holding up various things found in eating the 
slices—such as a key, a ring, a button, etc. 
Apples and cider may be passed, and the eating 
be made very funny. 

6. Twelve o'clock.— A girl doing the old 
“midnight stunt”—walking along backward, with 
a mirror and a candle. A young man slyly steps 
behind her, is seen; she screams. He kisses her, 
and both pass out together. 

6. Going Home. —The young people, with 
outer wraps on, saunter by, two and two, some 
strolling sentimentally, some walking briskly. 
Several take leave, very sentimentally, just be¬ 
fore passing out of sight. 

7. Afterwards.—A man and girl in a ham¬ 
mock. The moon, cut from cardboard, to show 


Hallowe'en book. 

the grinning outline of “the Man in the Moon” 
slowly rises (by means of a string), and winks. 
A very little experimenting will show you how 
to make him wink, by means of a movable 
paper eyelid. 

8. The Natural Result.— This should be a 
shadow picture of a wedding, and may be as 
simple or as elaborate as one pleases. 

Good Night.— A good ending for any program 
where shadows have been used, is to send in 
nine tiny children to stand in a row, and at the 
proper time, to raise high, over their heads, 
large, cut-out cardboard letters, spelling “good 

The Moontykes 

A Pantomime. 

Have you ever seen the Moontykes? Never heard of 
them, you say? 

Well, I’ll remedy that trouble in a few words, right 

They are only seen by mortals on one night of all the 

And, as this the mystic eve is, I will try to call them 

Moontykes! Moontykes! appear to us, tonight, 

Sliding down the moonbeams, so airy, cool and white. 

Moontykes I 1 Moontykes ! quickly now appear, 

On this weirdest, spookiest night of all the year. 



""Moontykes! Moontykes! Don’t you hear me calling so? 

I’m afraid I can not get them. They are contrary, 
you know. 

Why, 2 however did they get here? Thought there 
wasn’t one around! 

*.But 3 they always move so quietly, without a word or 

Once 4 they all were little children, just the same as 
you, or you, 

But they didn’t mind their mothers, as of course, 5 you 
children do. 

They were saucy, 6 disobedient, quarreled, 7 threw 8 
their toys around, 

Sometimes 9 sulked when they were crossed, or stamped 10 
their feet upon the ground; 

And one night 11 they were in mischief, where they 
never should have been, 

All forgetful of the dangers lurking round on Hallow¬ 

Suddenly they paused, 12 affrighted, at a fierce, ear- 
splitting yell, 

That apparently from heaven, through the twilight 
dimness fell. 

“What was that?” they cried in terror. “Was it ghost 
or goblin, which?” 

There, 13 upon a broomstick balanced, with her black 
cat, rode a witch. 

And she cast 14 a spell upon them—piled 15 them all 
upon her broom, 

Set 16 the old black cat to guard them, and sailed 17 
upward to the moon. 

There 18 she dumped the naughty children, and she 
quickly sailed 19 away, 

Leaving 20 them with the old Moon Man for forever 
and a day. 


Hallowe'en book. 

Now the Moon Man 21 is a tyrant, and he made them 
stand around, 

And they quickly 22 learned obedience when his switch 
the Moon Man found. 

’Twas 23 the tail of an old comet, so I’ve heard a 
whisper say, 

And he used it on the children in the good, old- 
fashioned way. 24 

No more sulking, 25 no more fighting. He was always 
lurking near, 

And, 26 at the first sign of trouble, he was certain to 

Then he tired of their noise. 27 He said they, screamed 
and cried too much, 

Also that their tongues were saucy. So he laid 28 an 
icy touch 

With his cold and clammy finger on their rosy lips, 
and then 

Not 29 a single child could ever scream or sing or talk 
again. 30 


So they slowly turned to Moontykes, 31 as tonight you 
see them here. 

Say, if one of them had been yours, 32 would you know 
the little dear? 

There is not a thing to eat but green 33 cheese, in the 
moon, you know, 

And whoever feeds upon it, e’er will round and 
rounder grow. 

In the moon 34 there’s not a thing to do but polish up 
the light, 

So they trim 35 and rub and polish, till it’s shining, 
clear and bright. 

Then, for playing’s not allowed, they stand 36 aiound 
and sigh, 

And the tears 37 come slowly dropping from each sa,| 
and sorry eye. 

Hallowe'en book. 103 . 

If they could come back again, and little children be 
once more, 

They would not 38 be cross and hateful, or sulk, as they 
did before. 

They are cured 39 of naughty ways, and they are watch¬ 
ing, 40 night and day, 

If perchance the witch who brought them, might again 
sail out that way. 

Something’s coming, 41 in the distance! Could it— 
can it really be? 

It is surely drawing nearer! Yes it is! 42 It’s surely 

See them kneel 43 to her, imploring, in their silent, 
voiceless way, 

That she take them back again. Alas ! 44 she coldly 
turns away! 

,/ Poor, wee Moontykes! 45 See them weeping! One 
pleads still. She 46 seizes him, 

Spins 47 him round, and bids 48 him fetch her, quickly, 
the old Moon Man grim. 49 

Him 50 she questions very closely, finds the children now 
are good, 

That they’ve surely learned their lesson, 51 as most any 
children would! 

On 52 her broom once more they’re mounted; sail 53 
they downward through the air; 

Land 54 once more on terra firma. Look, 55 perhaps 
your darling’s there! 

Speech 66 has come once more, and slowly they’ll grow 
thinner, eackooor dear. 

But they never 57 will forget the long-ness 58 of that! 

^Heed the lesson of the Moontykes! Tell 59 you, you 
had best be good! 

You had better mind your mother—do just as good 
children should! 


Hallowe'en book. 

For the Man 60 in the Moon is watching, and the 
Witch , 61 so fierce and grim, 

/XMay swoop down, and carry you to spend a year or so 
with him ! 62 


To give this shadow pantomime a white 
curtain must be hung in front of the platform. 
It should be smoothly stretched. A good reader 
is chosen to read the poem. He should stand 
at one side, so as to give a clear view of the 
entire curtain. The poem is acted out behind the 
curtain, only the shadows appearing. A little 
experimenting will show the best height and 
distance from the curtain for lamp, which should 
be one from an automobile. The Moontykes are 
children of any age up to ten or twelve. Use 
any number preferred. There should be twice 
as many children as there are Moontykes. Dress 
half of these so that the shadows they cast will 
be of round bodies and very short legs, long 
blouses, stuffed tightly, will give this effect. 
Pad the head to make it very large and round, 
then cover with a close cap. The witch should 
have a very long, sharp nose and chin (easily 
supplied by pasting paper features to the real 
ones), flowing hair, a tall, peaked hat, a broom, 
and a cat. She may wear a long cloak, if wished, 
and may have a humped back. Cut two outlines 
for the cat, from stiff paper—one in a sitting 
posture, the other with arched back and dis¬ 
tended tail. The Moon Man has a very large 
head cut like the usual pictures of the crescent 

Hallowe'en book. 


moon, with face. He has a short body and long 
legs. For convenience in description, I shall 
call those children who are dressed to represent 
Moontykes, “M’s,” and those who wear their 
own clothing, “C’s.” 

1—Moontykes appear, one at a time, coming 
from one side, with every appearance of stealth. 
2—Reader turns to curtain, in surprise. 3— 
M’s pass out, one at a time, from opposite side. 
A —C’s run in, one at a time. 5—C’s nod, point 
fingers. 6—C’s stick out tongues, make faces. 
7—C’s quarrel, pull hair, slap, etc. 8—Throw 
things. 9 —Hang heads sulkily; stick out lips 
in pout. 10—Stamp, angrily. 11—C’s stand, 
heads together, as if plotting mischief. 12—C’s 
jump apart, look up, searchingly. 13—Witch 
appears. By stepping over lamp she will appear 
to be coming down . 1 A —Witch appears to 
weave a spell, with waving hands. C’s ap¬ 
parently grow stiff. 15—Places C’s on broom, 
astride. Handle of broom is held up by some 
one outside, whose shadow does not fall on 
curtain. 16—Witch takes cat from position on 
broom, and while stroking him, changes him for 
the one with arched back, hiding other in bosom 
of dress. This one she places on broomstick, or 
rather, on broom part, provision having been 
made to hold him there. 17—If light is slowly 
lowered, witch and C’s will appear to go up, 
while they move off platform. 18—Witch enter 
again, dump C’s from broom, and (19) sail 
out (over lamp). 20—Moon Man enters. 21— 


Hallowe'en book. 

Slaps Cs around. 22—Moon Man gets switch, 
whips children, who dance around and cry. 
23—Moon Man flourishes switch, chases children, 
catches one, and (24) puts him across his knee 
and spanks him with the switch. 25—One child 
sulks, Moon Man shakes switch, and child stops 
immediately. 26—Moon Man passes out after 
(25), and now quickly pops in his head and 
shakes switch, then enters, catches and whips 
one. 27 —Children cry, Moon Man shakes head. 
28—Moon Man stretches out his forefinger, and 
touches each child on the lips. 29—Child shakes 
head, mournfully. 30—Child sits down, puts 
elbows on knees, holds head in hands. 29 and 
30 are acted out by each child separately, as 
fast as the Moon Man touches his lips. 31— 
Moon Man stamps, waves switch; children spring 
to feet. He beckons—they follow him out. 
When he gets nearly out, he points, instead of 
beckoning, and they run out. Then he beckons, 
and they run in. He nods, as if well satisfied. 
When they run in, the M’s run in, instead of the 
C’s, who have just run out. They run quite 
close to curtain, then step slowly back a little, 
growing larger. 32—They hold out hands, im¬ 
ploringly. 33—Moon Man enters, with a large 
piece of cheese on a plate. He gives each child 
a slice. As they eat, they move back a bit more. 
34—Moon Man goes out, enters with enormous 
lamp. 35—Some of the children clean globe or 
shade, some the chimney, some polish the lamp 
itself,- and one trims the wick, with scissors. 

Hallowe'en book. 


Let all do some part, with great vim, then put 
it together again, and Mo*on Man carries it 
out. 36—Stand around, dejectedly. 37—Cry. 
38—Shake heads, mournfully. 39—Nod, de¬ 
cidedly. 40—Watch, with hands shading eyes. 
41—Point, eagerly, clasp hands, still intently 
watching. 42—Nod to each other, reassuringly. 
Witch enters, as before, dismounts. 43—They 
kneel, raising hands, imploringly. 44 —Witch 
turns away. 45—All weep, in despair, save one 
who still pleads. 46—Witch seizes him by arm, 
lifts him up. 47—She spins him around, faces 
him toward entrance. 48—She speaks to him 
impressively, then motions toward entrance. 
49—He runs out, and returns with the Moon 
Man. 50—Witch questions Moon Man. He 
nods. 51—Children nod eagerly, stretch out 
hands. 52—She places them on broom, as be¬ 
fore. 53—As they start, raise light. Moon Man 
goes out, after light is replaced. 54 —M’s run 
eagerly in, look up. 55—Stretch out hands. 
They have run in, not too close to curtain, 
which they now approach very slowly. 56—Talk 
eagerly together. 57—Shake heads. 58— 
Stretch hands, slowly, far apart. 59—Nod, 
emphatically, and shake forefingers. 60—Point 
to entrance, where Moon Man sticks his head 
in, and shakes switch, menacingly. 61—Point 
to other side of curtain, where Witch sticks 
in her head, and shakes fist. 62—Witch and 
Moon Man disappear. Children cut up antics 
before dancing out. Last one looks back, to 
shake finger, warningly. 


Hallowe'en book. 

A Hallowe’en Acrostic 

For ten children, each carrying a Jack-o’- 
lantern. Instead of the usual faces, each pump¬ 
kin has a large letter carved out of the side, 
the letters spelling the word “Hallowe’en.” 
They enter one at a time, except the L’s and E’s, 
who enter in pairs. 


Do you know your letters? Then look carefully, and tell 
The word that we are spelling. You know it very well. 
I bring an H. It stands, you know, for dear old 
Harvest time, 

When the pumpkin, big and yellow, is smiling on 
the vine. 

Second : 

A stands for Apples. At Hallowe’en frolics, 

To bob for an apple’s the jolliest fun! 

Or to bite at one, swinging, with hands tied behind you. 
Just try it, and see if it’s easily done! 

Third and Fourth: 

L stands for Lovers, of course there’s a pair. 
Hallowe’en finds them matching up so, everywhere. 
’Tis the night of all others to find your true mate. 
Perhaps you will find yours tonight. Try your fate! 

Fifth : 

I bring a round O, and that’s certainly fair, 

For “Oh!” “Oh!” tonight you will hear everywhere. 
The “Oh!” of disgust, and the “Oh!” of delight, 

The shocked little “Oh!” and the “Oh!” of affright. 

[Choose a child for this verse who will say all the 
“Oh’s” in the appropriate tones.] 

Hallowe'en book. 


Sixth : 

W I bring. It stands for “Watch out!” 

For this is the night when the ghosts are about. 

And goblins and Brownies. Oh, you needn’t doubt! 
They’re watching for you. So you'd better watch out! 

Seventh and Ninth : 

E’s for every little boy and every little girl, 

For every gentle maiden and her swain 
Who love the charms and stories of the dear old Hallow- 

And are glad the eerie time has come again. 

Eighth (pushing in between yth and pth.) 

Now you two E’s just needn’t think that you can leave 
me out! 

Though only an apostrophe, I have my place, no doubt. 
I stand for all the left-out things. The many things, 
you see, 

That we haven’t time to tell about. The night is short, 
you see. 


N is for Now—the Night of Nights, 

The spookiest night e’er seen; 

The night we’ve been spelling. 


You see it now, 

The mystical Hallowe’en! 

[Place pumpkins in a row at front of platform, 
like footlights, and march out.] 


Hallowe'en book. 

Black Cats 

A Fantasy. 

Dress four small boys to represent black cats. 
Make the suits of black, in any preferred 
material, cut as nearly as possible in the shape 
of a cat, fastening invisibly up the back. A little 
judicious padding will make them quite realistic. 
The sleeves and legs should terminate in paws, 
completely covering hands and feet. The tail 
is stuffed and wired, to curl up over back. The 
head is covered by a close-fitting hood, sewed to 
the neck of the costume. This hood is Cut in 
two pointed ears. A cat mask is worn, fastened 
firmly, and a ribbon is tied around the neck. 

Choose boys who can “miaow” naturally. 

Make a fence in the background. This should 
be built double, the inner being far enough from 
the outer to admit of a platform across the two, 
on which the cats can sit, looking as if they 
sat “on the back-yard fence.” 

First boy enters, on all fours, walks around 
platform, jumps up on fence, looks all around, 
then begins to call, making the words sound as 
much like “miaows” as possible: 

“Mari-i-a! Mari-i-a! Come aout! Mari-i-a! 
Mari-i-a! Come over in my yar-r-d!” 

Second boy bounds out on platform, and 
meows, “What you ’baout ? I’ve come aout!” 
and jumps up beside first boy. Both purr 

Hallowe'en book. 


loudly, then both call the same as at first. Third 
boy enters, same way as second, meows answer 
and jumps on fence. All three purr, then call 
as at first. Fourth boy bounds in, answers, and 
mounts fence. All purr, then first says, “Now 
we’re aout, let’s walk about!” All jump down. 

Walk to front, sit down, cat fashion, and 
wash faces. (Every boy knows how.) Walk 
up toward centre of platform, run round and 
round, chasing tail. Run around after each 
other. Play as cat-like as possible. Get mad, 
arch back and spit. A quick, aspirated “Hah!” 
is as near as possible to the real cat noise. En¬ 
gage in a rough and tumble kitten play, then 
mount fence once more and sing: 

Tune: Bonnie Doon. 

We are the cats, the Hallowe’en cats, 

Me-ow, me-ow, me-ow, me-ow! 

We are the terror of the rats. 

Me-ow, me-ow, me-ow, me-ow! 

Our voices sweet and clear and high, 

Me-ow, me-ow, me-ow, me-ow. 

Re-echo from the midnight sky, 

Me-ow, me-ow, me-ow, me-ow. 

We raise a carol clear and sweet, 

Me-ow, me-ow, me-ow, me-ow, 

And rouse the neighbors from their sleep, 
Me-ow, me-ow, me-ow, me-ow! 

Then each, delighted, at us flings, 

Me-ow, me-ow, me-ow, me-ow, 

Boot-jacks, hair brushes, and such things, 
Me-ow, me-ow, me-ow, me-ow! 


Hallowe'en book. 

We’re going to sing till dawn of day, 

Me-ow, me-ow. me-ow, me-ow, 

And chase your night-mares all away, 

Me-ow, me-ow, me-ow, me-ow! 

We won’t go home till morning dawns, 

Me-ow, me-ow,— 

At this juncture, hairbrushes, boots, boot- 
jacks, and such things, are thrown from behind, 
together with such cries as “Scat!” “Sic ’em, 
Towser!” “Those awful cats!” etc. The cats 
jump down and run out. 

This will occupy but a very few minutes, and 
prove a laughable number on your programme. 

The Ghost Song 

A Hallowe’en Stunt. 

— i -N- 1 - 

—1-N- 1 - 

— 1 - 1 - 

c \y- 

4. i -i 

-#■ . -#■ -#• 

-25*- ■# 



—t "1 





□s □ 

jTLt J 




t -+ 

Poor old Mother Spriggins, a thin old crone— 
She went to the graveyard all alone. 

’Twas midnight, upon a dark Hallowe’en— 

The night when the ghosts are always seen. 

Marm Spriggins heard many a hollow groan. 
She wished that she was not all alone. 

Hallowe'en book. 


Wild, blood-curdling shrieks smote the old crone's ear, 
And moans, as she to the church drew near. 

Above her gray head, like a great black bat, 

A witch hurried by, with broom and cat. 

Beside the church steps, clothed in glist’ning white, 
There stood a pale ghost—a fearsome sight! 

Within the old porch, she, shuddering, stopped, 

And there, she with terror nearly dropped. 

Two skeletons, each with an awful grin, 

And cold, bony hands, did lead her in. 

And when she had passed through the old church door, 
There lay a pale corpse upon the floor. 

It was such a gruesome and awful sight. 

The woman grew stiff and cold with fright. 

The ghost to the woman, still shuddering, said, 

“ ’Tis thus you will lie when you are dead.” 

The old woman unto the ghost then said, 

“How long will it be before I’m dead?” 

The ghost in a hollow tone to her said— [shriek] 

This should be sung in a very solemn manner, 
and should end in a wild, unearthly shriek, 
which, coming so unexpectedly, after the droning 
verses, is sure to be echoed by several feminine 




Tune: Robin Adair . 

[Music in “Nonabel Song Collection.” Price 25 cents. 
Order from March Brothers, Lebanon, Ohio.] 

Why are we gathered here? ’Tis the Hallowe’en. 
Spookiest time of year, mystic Hallowe’en. 

Strange things are all around, 

Ghosts glide without a sound, 

Everywhere spooks abound, on this mystic Hallowe’en. 

Brownies their pranks will play on this Hallowe’en, 
Goblins will prowl till day, this mystic Hallowe’en. 
Elfins so gay and bright, 

Frolic and dance all night. 

Witches will cause you fright, on this mystic Hallowe’en. 

Maidens their fate may tell on this Hallowe’en, 

Of him they love so well learn on this Hallowe’en. 
Learn what his trade may be, 

If he’ll be true to thee. 

Maybe his face they’ll see, this mystic Hallowe’en. 

Haste then thy fate to learn on this Hallowe’en. 

Haste where the candles burn, this mystic Hallowe’en. 
Come, try thou every charm, 

Bravely face each alarm. 

Fair maid ne’er came to harm, on a mystic Hallowe’en. 


Hallowe'en book. 


Jack - O’- Lanterns 

An action song - for a number of boys, with 

Tune: Co-ca-che-lunk. 

[Music in “Nonabel Song Collection.” Price 25 cents. 
Order from March Brothers, Lebanon, Ohio.] 

When 1 the farmer plants in springtime, 

We all help him—yes, 2 indeed! 

You will find us in the furrows, 3 
Planting 4 Jack-o’-lantern seed. 


Bright* Jack-o’-lanterns, gay Jack-o’-lanterns, 
Merrily, 5 * merrily, merrily swing. 

Bright Jack-o’-lanterns, gay Jack-o’-lanterns, 
Just 6 to frighten the girls, we bring! 

Grow 7 they in the rain and sunshine, 

Through the sultry summer hours. 

Till each vine is bright and gay with 
Yellow 8 Jack-o’-lantern flowers. 

When 9 the autumn leaves are falling, 

Not a single care have we, 10 
For we see 11 our Jack-o’-lanterns 
Growing big 12 as big can be. 

When 13 the Hallowe’en is coming, 

And October’s left behind. 

To 14 our vines we all go prancing, 

Pick the biggest 15 we can find. 

Cut 16 the cap off very carefully. 

Scoop 17 the inside out with care. 

Carve 18 a face and stick 19 in a candle— 
Here’s 20 a Jack-o’-lantern rare! 


Hallowe'en book. 

Let it peep 21 o’er the tops of fences, 

Stick 22 it up in a corner dark, 

Chase 23 the girls, and hear them holler ! 24 
We’ll have many a jolly lark. 

Chorus for last verse. 

Bright 25 Jack-o’-lanterns, gay Jack-o’-lanterns, 

Watch 26 them all vanish, one by one. 

Bright Jack-o’-lanterns, gay Jack-o’-lanterns— 

You 27 had better come join the fun! 


Boys enter, march around in circle, then form 
line across back, and march to front, all abreast, 
holding lanterns in both hands. Pause a mo¬ 
ment, then tip lanterns as if they were bowing. 

1 Set lanterns on floor. 2 Nod, emphatically. 
3 Kneel on one knee. 4 Motion as though plant¬ 
ing seed. 5 Take lanterns again. 5 ’Swing them 
through two lines. 6 Raise them high. At end 
of line, set them down again. 7 Raise hands a 
little, to indicate growing. 8 Clap hands. 9 Raise 
hands, lower them, whirling, like leaves. 10 Slap 
chests. “Point to lanterns. 12 Hold hands to 
represent a ball, bring them farther and farther 
apart. 13 March backward through two lines. 
^'Prance forward. 15 Look around, then lift 
lanterns, as if picking them. 1G Take lantern 
against body with left hand. With right, pretend 
to cut cap, and lift it. “Pretend to scoop inside, 
is.iopretend to do the things mentioned. 20 Hold 
up lanterns. “Raise it suddenly. 22 Hold high, 
to left. 23 Start prancing around, continue this 



to end. 24 Pause a moment to give a squeal. 
25 Wave lanterns high. 26 Dart out, one at a time. 
27 Last boy or last two boys, now alone on stage, 
turns, and clasping lantern in left arm, beckons 
with right hand. 

Have a girl or two behind, and as soon as all 
have vanished, let these girls scream, and boys 
laugh or yell at them. 


(A costume action song for any number of girls or young- 
ladies. They wear white dresses, peasant cloaks and tall pointed 
hats of bright scarlet. The cloaks may be of crepe paper or 
cambric. The hats may be of cardboard covered with the paper. 
Put a narrow black band around the crown. If desired the hats 
may be purchased of March Bros. Each witch carries a broom. 
Choose the prettiest girls obtainable, and have them sing and 
act in a vivacious manner.) 

Words by Music by 

Elizabeth F. Guptill. Jean Elizabeth Van DVKk. 



-O-H?- — 


Ht *■ 


i p J 1 p 


-S' * m * if J c j 



1. On All Hallow Eve, sirs, you 

2. When Fall’s nearly o-rer—the 

3. On bright Hallowe’en, sirs, the 

would-n’t 1 be - lieve, sirs, The ter - ri - ble things all 2 a- 
last of Oc - to- ber—0ne 9 night they are giv - en full 
witch- es are seen, sirs, And ev - ’ry one work- ing some 


Hallowe'en book. 



They’re spook - y 


aw - 

ful, 3 



Be - ware, 0 






Es - cape while 






~ ! i J • 

0 a 


g' igd 

L' - 4 --- 0 - 0 -ft 



-ti-rb v , - 

I W i-^ s k 

.. . N._^ Jk. J 

fr\v 0 -i s, v x 

4 _x 

L * W 

most nights un-law - ful, The witches are worst, there’s no 
cape 10 whileyou can, now, Or to you they troub-le may 
do aa keep a-way, sirs, Or weep not when you come to 


0 -J-;— 

-A -1- i -— 

I . .j _ M --4 . 


rr+7 0 -h 0 1 

** i 

/^v • 1 # • 

ZJ |- 

R. 7 — 

0 ■■ ■ — 


0 • - 

^-f*-1 - 

-r- r' - ■ 





doubt. There are gob - lins so spite - ful, and brownies de- 
bring. Don’t 11 think they will please you, they’re eager 13 to 
harm. Oh, heed 33 now the warn-ing! Go 34 hide un-til 

light - ful, Pale ghosts and bold kobolds and elves; But of 
tease you, A broom is their weapon and coach; Though 
morn-ing, Un-less 35 you are seek-ing a wife; Gaze 

r )y | ^IMI 

J J 


=p^— - 

y 2 

%-■ i~: 



to-. - 



-*■ • 

Hallowe'en book. 





witch-es 4 take care, sirs! we warn you beware, sirs, For 
on 13 it they fly, sirs, yet from 14 it you’ll fly, sirs, If 15 
not in their eyes, sir, or to your surprise, sir, You 


we 5 are the witch-es our-selves. Thej’ll 6 try to en- 
you on their rights should encroach. Thej’ro 16 prancing and 
may be a pris-’ner atf for life. They’re bow - ing a7 and 

-a , i= 


W .%-*-% *=? 


x — 

i t 2 

a tempo . 



- 0 - 



. 1 ■ rv 1 

■ ' zi • 







jL^b -N 



*!%/ fc. v .17 

0 ^ J 

\ri ^ ^ 

n n P P w 

XT 0 • 

trap you, bev 
danc-ing, theii 
smil- ing, with 

-G—b- — 

rare, they will catch you! The ’ 
daint-y feet glanc-ing, While Is 
dim-pies be - guil - ing, Es - c 

witch- i - est 
•right eyes 117 are 
sape, 0 young 

m . 1 — L— 

W - ■ 1 V 

XZZ' P* 


2 . r w 

^ Ti 


fV U -1 

)• 9 

^ • 

S b m 


V 9 • 

1 9 


TTv p P 

-- N s -- 

.J Jp^-U g _ 9~ —# - 


-J2— N J h h 

IfTSt' m . m m 

0 - P * p n 


# • # # 

# # 0 * 

witch - es e’er seen! Their skirts 7 they are switching, in 
glanc-ing at you; Tho’ 18 they look dis-creet, sirs, or 
man, while you may, Or, with daint-y 2 8 skirts switching, these 

V i /| 

JLm* r ? gk * M M 

-I-—1 K 

"1 J . 1 J 1 It 

i 1 1 T 

-J J 

—^M | J j 

viz Z • 

0, • 0, 0 

A 9 * 0 0 -1 

* f 

dl u w • 

.^ i L • 

* )• 0 • 


- - . w - 

0 • | / 

n 1- 

V [ 

-4 * • 




Hallowe'en book. 

The witches enter, leading their steeds. They 
stroke and pat them, as if they were horses, 
then stand them up at back, brush end down. 
Some arrangement should be made to hold them 
so they can be easily removed and replaced at 
the proper time. Each one flits to the front 
when she has stabled her steed, bows prettily, 
and waits for the others. Do not do this in 
order, but one here, then one there, till all are 

1—Shake heads, in negation. 2—Motion to 
both sides. 3—Hold up hands in horror. 4— 
Shake forefinger, emphatically. 5—Grasp cloak 
with both hands, one at neck, one lower, and 
look mischievously at audience. 6—March to 
and fro, or around in circle, while singing this 
chorus. 7 —Hold skirts out daintily, and swish 

Hallowe'en book. 


them, while continuing march. 8—At end of 
chorus, take places again, and bow low, still 
holding skirts. 9—Swing arms lightly to and 
fro through this line. 10—Throw hands out 
in front, wide apart. 11—Step lightly backward. 

12— Clasp hands, raise them to breast, stopping 
a moment to look mischievously at audience, 
then continue backward step. When back is 
reached, turn just long enough to secure broom. 

13— Hold broom to left side, as if about to 
mount. 14 —Raise as if in defense. 15—Run 
quickly to front of platform, as if chasing some¬ 
one with broom. 16—Holding broom lightly, 
march in and out, or in circle, during this chorus. 
17—Cast coquettish looks at audience. 18— 
Look down, demurely. 19—Beckon, alluringly. 
20—Swing brooms. 21—Hold them high. 
(During interlude, replace brooms, and dance 
to front again.) 22—Clasp hands, hold them 
up under chin. 23—Stretch out clasped hands. 
24 —Separate hands, move them as if pushing 
someone away. 25—Tip head coquettishly to 
left, put left forefinger to cheek. 26—Hold out 
both arms, then fold them to breast, as if embrac¬ 
ing someone. 27—Keep bowing daintily, and 
retreating, through these two lines, till back of 
platform is reached. 28—Hold out skirts, swish 
daintily to end of line. 29—Run swiftly to 
front, with open arms. Retain attitude a 
moment, then run lightly to back, seize brooms, 
and run out, the first one out of sight exclaiming, 
“There’s one, girls!’’ and all responding: “Oh, 
catch him! Catch him!” as they hurry out. 




Words by Music by 

Elizabeth F. Guptill. Jean Elizabeth Van Dyke. 

I am the Night-mare, a hor - rid old witch, 

missed in your les - sons, or rules dis - o - beyed, 

I’ve a com - pan - ion, a lit - tie black dog, 

W-* « *=i —| 

47 J ^ J J J J 

1 1 

T ^ 

CV m m i 

)•( | • 3 • 

s b J J I 

9 • 9 . 

L --‘ 

(She should be dressed fantastically, as a witch, and should 
dance or whirl around while singing the “tan-ta-ra,” also during 








:"'.'-jp q 

n p- jp s n. 

v J * • a “j 7 J 

.J_ 9 m _S 

m 4 4 

Tan - ta - ra, tan - ta - ra, 

Tan - ta - ra, tan - ta - ra, 

Tan - ta - ra, tan - ta - ra, 


3 V 

tan - ta - ra! I 

tan - ta - ra! If 

tan - ta - ra! He’ll 




1 - — M -i v . 

vtv as • 

. J_ 9 m S 

2: * * t + 


J i_L 

O’ *. 

J M 

)• i i • 1 

4 . m v 

# • -| ” 

V ! 9 

a • * 

4\ PP IV K k 

v - 




99 m. J IP 

VM7 ~ m ~ 

• PI PS 

ride thro’ the air, with a whi 
you’ve been too proud of some < 
howl round your pil-low, he’ll b* 

* + 3^3 

rl and a sweep, To the 
jute lit-tle rig, Or 

irk and he’ll bite, To 



Jp. h» M M J -1 i 

- “ . «■- 

TW 5_5 m 2 * 

• I J , 

SiM i . i I r .m 

! 4 1 \ S '. 


r\* j : 

*)•, a • m • 

J K # • w • 

] "1 ’ 

i # ’ 

Hallowe'en book. 


— J - [*' N h K~ 

-b —r- 

—-— * -0 * 0 

cribs and the cots where the bi 
if with your good - ies you’ve 
scare naught-y chil-dren’s his d 

id chil-dren sleep, And the 
act-ed a pig, 0 

lear-est de-light! He’ll 

1 — . i—:—; 


fR-V _ z. _ “ 9. 1 J J 


£-u n i_ ~7 • 0 * — 

— a --* 


i _ i_1 

~ + Z * 


id* J j 


J - 

r~J*t m • 0 • 

' b—* • 9 • 


■ -) - - 


—- 0 V- 


- x - * - N - 1 - 

VT7 “T* T *2-^ 

s * 0 0 ■ 

\T 9 0 ■0 9 0 - 0 

dreams that I bring make them 
then round your pil - low I’ll c 
cause you to scream in a i 

rjirj~ it-—- 

i trem-ble and weep, 
lance a mad jig, 
light-mar - ish fright, 


tA) r i i v J d " - - 

O 0 0 0 • 

* T ^ ^ ^ ^ ^ J } J 


■ -i — 

!• J □ 

# . — ■ - 

0—i - 



Hallowe'en book. 



A Recitation. 

Once on a time, on a Hallowe’en, 

That time of the ghosts so dread, 

Two boys sallied forth, a tree to strip 
Of its fruit, so juicy and red. 

Each wrapped himself in a sheet, so white. 

“If the farmer who owns the tree 

Should come,” said one, “he will scream and run. 

For a pair of ghosts he’ll see.” 

But the farmer came not. and their bag they filled 
With the apples, and then Tom cried, 

“As we’re ghosts, you know, to the graveyard we’ll go, 
And the apples we’ll fairly divide.” 

Now Tom always wanted to get the best 
Of a bargain; and so on the ground 

Outside the gate, he dropped, to wait, 

The two largest apples he’d found. 

“And now,” said Jack, “let us pour them out; 

And I’ll tell you just how to do. 

Take two at a time—’twill divide them fine— 

One for me and one for you.” 

Now this was the reason no one had spied 
The little rogues—Tommy and Jack— 

Old Farmer Brown had been to town, 

And was just now coming back. 

As he neared the graveyard, he heard the sound 
Of hurling, scurrying feet, 

And gasping breath; and, scared most to death, 
Straight toward him came Foster’s Pete. 



And with shaking knees and chattering teeth, 

And eyes starting out of his head, 

Gasped: “By all that’s evil, the Lord and the Devil 
Are in there, dividing the dead!” 

“What nonsense!” said Brown. “Guess you’ve been to 

Says Peter, “You think I’m tight! 

Come on, if you will, and listen, until 
You can hear for yourself that I’m right!” 

So back to the graveyard they both of them went, 
Where Jack was still counting away. 

“There’s one for me, and there’s one for you,” 

The pair at the gate heard him say. 

Now Jack had noticed young Thomas’s trick 
As they entered the graveyard gate, 

And though nothing he said, he’d a plan in his head 
To make the count come out straight. 

“There’s one for me, and there’s one for you,” 

Over and over he said. 

Dividing them, straight: and the pair at the gate 
Thought he was dividing the dead! 

“There’s one more for me and one more for you, 

I’ve divided them fair and straight. 

And now we will go for the pair, you know, 

That are just outside the gate.” 

The pair at the gate waited for no more 
But ran on the wings of the wind 

Till of breath bereft, they paused. They had left 
The graveyard far, far behind. 

And each Hallowe’en, when weird tales are told 
Of goblins and ghosts so dread, 

They tell of that night evil, when the Lord and the Devil 
In the graveyard divided the dead! 

Hallowe'en book. 


A True Hallowe’en Story 

A Recitation. 

Once on a time, long years ago, 

When Grandma was sweet sixteen, 

(Girls were much the same, in that far-off day 
As they are today, I ween.) 

She’d a chum—just a “friend” they called them then, 
Who was chuck full of mischief and vim, 

Though Grandmamma’s people were Quakers grave, 
And would have her sedate and prim. 

Now Prudence had somehow found out about 
The doings of Hallowe’en, 

And though both girls knew ’twould be quickly stopped, 
If she trying charms were seen. 

Yet each of them yearned, as a young girl will, 

Her fate on that night to try, 

And they talked and planned, in secret, of course, 

As the fateful night drew nigh. 

They never mentioned the Hallowe’en— 

They were far too wise for that! 

But Grandmamma went to Prudence’s house. 

To learn a new pattern to tat. 

Now tatting was innocent, ladylike play, 

And useful, as well, you know, 

So to spend the night with young Prudence, her friend, 
She of course was allowed to go. 

The girls went early to bed that night, 

To the grown-up’s great surprise; 

But not to sleep. They whispered low. 

And never once closed their eyes 



Till all of the old folks were safe in bed. 

And silence lay over the house. 

Then softly each one of them crept out of bed, 

As quiet as any wee mouse. 

They waited until it was nearly twelve. 

They’d a wonderful charm to try! 

Then forth from the great front porch they stepped 
Out under the starlit sky. 

Each girl in her hand a small mirror held. 

And backward she carefully stepped, 

Munching an apple and saying a charm. 

A different way each one kept. 

Now just as my Grandmamma reached the core 
Of her apple that Hallow Eve, 

She looked in her mirror and saw a face! 

Whose it was, you will scarcely believe! 

For just a year later, to that very man, 

She her hand in fast wedlock did give. 

So you see that the Hallowe’en charm came true. 
It was Grandpapa, sure as you live! 

And Prudence? She lived an old maid all her life. 

For she turned, and swiftly ran 
When she saw the face that peeped into her glass! 
’Twas her grandfather’s old ugly ram! 

So some day, when I am a lady, almost, 

I’m going to try that old charm. 

Though to think that I might see an ugly old ram. 
Fills my heart with sad fear and alarm! 

Hallowe'en book. 


Two Ghosts 

A Recitation. 

A tall, white ghost, one Hallowe’en, 

Went prowling through the town. 

It chased a couple of small boys 
Until they tumbled down. 

It peeped within a window small, 

Where an old spinster sat, 

She screamed, and fainted dead away, 

Beside her old black cat. 

Moving with stealthy feet and slow, 

It toward the graveyard sped— 

The proper place for ghosts, of course, 

Among the silent dead. 

Another ghost came forth that night, 

In another part of town. 

Weeping and wailing, it advanced, 

Swift over vale and down. 

Moaning and groaning in despair, 

It frightened many a child. 

Each, screaming, ran, while onward still 
Did glide the spectre wild. 

Toward the graveyard of the town 
Its spectral face was set; 

And, at the very entrance gate, 

The other ghost it met! 

It surely was the place for ghosts— 

The very time and season; 

Yet both ghosts screamed, and turned and ran! 
What could have been the reason? 



Naming Chestnuts 

A Recitation. 

At Reginald’s Hallowe’en Party, last night, 

We played such a fine, jolly game! 

We sat by the fire, so warm and so bright, 

And we each had two chestnuts to name. 

And one we must name for ourselves, Reggie said, 
And one for some girl that we know, 

And watch while they roasted, for how they behaved, 
He said, told your fortune for you. 

If they stayed right together, it meant, Reggie said, 
That both would be true to the end; 

But if one jumped away, that one was untrue, 

And you never would marry your friend. 

He said ’twas just fun, but I knew it was true, 
Because—you may think it was queer— 

Mine stayed close together, clear up to the end. 

And I named it for you, Mother dear! 

Her Fortune 

A Recitation. 

I heard Helen tell this charm to Irene: 

You must pare an apple on Hallowe’en— 

An apple of red, or yellow, or green. 

You must get the peel in one piece, you know, 

And whirl it three times round your head, just so, 
Then over your left shoulder let it go. 


Hallowe'en book. 

The letter it makes on the floor, you see, 
The first in your husband’s name will be. 
/ tried it, and got the letter “P.” 


That stands for my Papa, you see, and so 
I’ll marry him when a lady I grow. 

I’m glad, for he’s the best man I know! 




Elizabeth F. Guptill 


Hallowe'en book. 


A Hallowe’en Party 


Maude, Kathertne, Laura, Elsie, four 
high-school girls. 

Floyd, Bert, Lew, Phil, four high-school 
boys, who personate Ghosts. 

Mrs. Elliott, Maude’s mother, who person¬ 
ates the gypsy. 

Forest Elves, eight little girls. 

Goblins, eight little boys. 

Twenty-five characters, 12 male, 13 female. 


The girls wear any pretty dress they happen 
to have. 

The boys wear, over their usual school suits, 
Ghost costumes formed in the usual way, by 
draping sheets about them. A few safety pins 
will hold them in position. Over their heads, 
they wear white bags, like pillow-cases, with 
holes for features. 

The Gypsy wears a rather short skirt (not 
too short), of yellow or red, a bodice of same, 
laced over a white guimpe, and a black, filmy 
scarf. (An automobile veil will do nicely.) 
This may be of some bright, contrasting color, 
if desired, instead of black. 

The Forest Elves wear short skirts of green, 
cut around the bottom in leaf-like points, tunics 
of same, making another row of points, plain 


Hallowe'en book. 

waists, and girdles of vines, evergreen, or 
autumn leaves. Each has a wreath of same on 
head. The costumes may be all of green, or 
half of a woodsy brown. 

The Goblins are covered from head to foot, 
in long black cloaks. Holes are left in the proper 
places, so the boys can see well, but not to be 
noticeable. Each carries a Jack-o’-lantern, 
firmly fixed on a short stick, for a head. When¬ 
ever the Goblins’ heads are mentioned, these are 
meant. Over the back of each is firmly fastened 
a long black veil, which will hang down over 
back of real head, well down over costume. The 
effect will be that of a hump. Quite a piece of 
the stick should be covered with stiff white card¬ 
board, to give effect of collar, when neck is 
stretched out. These Goblins will be very 
quaint and grotesque. 

Stage Properties. 

The first scene needs a fireplace, and a table. 
Any other furniture appropriate for a living- 
room or library. 

The second scene should have trees in the 
background. If no painted scene is available, 
two or three small evergreens can be set up. 
The gypsy kettle must hang from three crotched 
sticks, over a fire. This is simulated by a few 
sticks, among which is crumpled some of the 
tinfoil, which can be had in a flame color. The 
Gypsy has a long, wooden spoon. There need 
be nothing in the kettle. 

Hallowe'en book. 



This should be drawn on platform. The letters, of 
course, are unnecessary, being used only in describing 
dance, which will be found easy if diagram is drawn. 
Draw the square as large as your platform will permit, 
first leaving space enough in background for Gypsy, 
kettle, and girls. Enough space should be left at each 
side for Goblins. Whenever the word “march” is used, 
it simply refers to the direction to be taken, not to the 
step, which is to be that agreed upon. 


Hallowe'en book. 

Scene I. 

[A living room, with a fireplace, before which 
the four girls are gathered. They are roasting 
chestnuts, in pairs.] 

Laura [ rising ] : There, I shan’t try that 
again! I’ve tried six different names, and they 
hop apart every time! 

Katherine: The fair and queenly Laura is 
destined to be an old maid. 

Laura: And how about our charming 

Katherine? Every one of your six burned 
steadily, close by its mate. Are you going to 
marry them all at once, or one at a time ? 

Maude: One at a time, of course, and when 
she tires of one, it will be “Off with the old 
love, and on with the new.” 

Elsie : Better take up a permanent residence 
in Reno, Kitty Kat. 

Maude: Perhaps she’s going to have them 
all at once, and be a sort of female Turk! 

Elsie : The Great Mogul-ess! 

Laura: Henrietta the Eighth! 

Katherine: No indeed. I shall be a widow 
many times. Each time I shall weep harder and 
longer, and have a wider band of black on my 
stationery. I think crape would be very becom- 

Hallowe'en book. 


ing. And each time some richer man shall 
entice me from my—my—inconsolability—and— 

Laura : Better have that word stuffed and 
mounted, Kit. Let’s try something else. 

Elsie: We’ve tried every charm we know, 

Maude : And Laura draws a blank every 
time. No use, Lollipop, you’ve got to be an old 
maid. Try to compose your feelings, and get 
used to the idea. 

Laura : We haven’t tried the candles. 

Katherine: So we haven’t. Minions, the 
tapers, immediately! [All the girls unite in 
setting up seven candles, and lighting them.] 

Laura: Katherine first. 

Katherine: All right. [They blindfold her, 
turn her around three times and let her go. She 
walks directly to table, blows three times, and 
extinguishes every light.] 

Elsie: Good for Kitty Kat. 

Maude: She’ll be married “right avay quick 
aretty,” as Hans says. 

Laura : Which is to be the first groom, fair 
bride ? 

Katherine : Oh, whichever one asks first, of 
course. You try, Elsie. 


Hallowe'en book. 

\Elsie is blindfolded, turned around, and 
starts for table. She goes to one side and blows, 
of course without effect.] 

Katherine: Never, never! One old maid! 
You try, Maudie. [Maude is blindfolded, etc., 
and goes as far to left of table as Elsie did to 
right. She blows very hard the first time.] 

Maude : Did I get them all ? 

Katherine : Not quite. Blow harder, 

Maudie. [Maude does 

Elsie: Harder yet, my Boreas. Huff and 
puff, as the old wolf did. [Maude fills cheeks, 
blows as hard as possible, then snatches off the 
handkerchief, and discovers her position.] 

Katherine : And her name was Maude! 

Maude: Funny Kit Kat never has bad luck! 
Come, Laura, redeem your chestnutty failure. 

Laura: Guess I won’t try. 

Katherine : Oh, come on, never say die! 
Don’t give up hope as long as there is such a 
thing as leap year. [Laura is blindfolded, etc., 
walks to table and blows. Katherine mischiev¬ 
ously relights the candles she extinguishes.] 

Katherine: No use, Lollipop. Old maid is 
your future condition. 

Laura : Who believes in the foolishness, 
anyway ? 

Hallowe'en book. 


Elsie: Why, every girl does, on Hallowe’en. 

Katherine: Sure. On Hallowe’en the 

witches and ghosts are abroad. What next? 

Maude : A dare. Who dares visit the 
haunted wood and the gypsy’s hut ? 

Elsie : What, at night, Maude ? 

Maude: Sure. This night. 

Katherine: It’s—it’s a long way, Maude. 

Laura : And it’s Hallowe’en. 

Maude : Sure. That’s why we’re going. 
Perhaps we’ll see faries. 

Laura : Who believes in fairies at our age ? 
Besides, it’s Midsummer eve they come out. 

Maude: Then we shan’t see them. But may¬ 
be we shall see something. Who dares go? 

Elsie : But they say that wood really is 
haunted, and besides, we’re not allowed to go 
out alone in the evening. 

Maude : We’re not going alone. We’re going 
together. I’m going, anyway. Come on, all ye 
who dare! 

Elsie: Of course we dare—but— 

Maude: Come on, then. She who lingers is 
a Fraid Cat. Here’s for adventures! [She 
passes out, followed reluctantly by the others.] 



Hallowe'en book. 

Scene II. 

[This is supposed to be the entrance to a 
wood. A few trees should be in the background. 
In the foreground is the gipsy, stirring some¬ 
thing in a huge kettle. Girls peeping at her from 
side, but she apparently does not see them.] 

Gypsy [sings or recites ] : 

Bubble and simmer and bubble away. 

Boil, oh my wonderful stew! 

Charms, incantations and words weird and wild, 

Mutter I now over you. 

[She waves her huge wooden spoon, or paddle, 
mysteriously over the kettle, and mutters in a low 
voice, which she gradually raises higher and 
higher, a lot of unintelligible syllables, ending in 
a shriek. Anything will do, as long as it is not 
real words.] 

Elsie: Let’s go home. 

Gypsy : 

Nay^ little maid, come taste of my wonderful potion. 
[Girls hesitate. Gypsy beckons.] 

Come at once, or woe betide thee. 

Ill to thee I’ll bring. 

You’ve been listening and peeping, 

Heard the gypsy sing. 

Katherine: We didn’t mean any harm. 

Laura: If you’d rather be alone, we’ll go 
right away. 

Hallowe'en book. 


Gypsy : 

Do not try to run away, 

Or harm will come to thee. 

I your fortunes fair will tell. 

Listen now to me. [Girls draw nearer .] 

Maude : What have you in the kettle ? 

Gypsy : 

A wonderful mixture, maiden fair. 

I’m brewing - here tonight. 

If you have the courage the potion to drink, 
'Twill give you second sight. 

Elsie : But what’s in it ? 

Gypsy : 

The eyes of an owl and the head of a snake, 

A beetle, the wings of a bat, 

The feet of a toad, the tongue of a crow, 

And the claws of an ugly old cat. 

Elsie: No, thank you, I don’t care for any. 

Gypsy : 

'Tis mingled with juices of poisonous plants. 
And seasoned with herbs rich and rare. 

I hunted them up in the dark of the moon. \/ 
Will you taste it, my maiden so fair? 

Katherine: I’d rather not, if you please. 
Can’t you tell our fortunes unless we taste that 

Laura : I certainly shan’t taste it. It must 
be rank poison. 



Gypsy : 

Stir the potion with eyes shut tight, 

And wish, my damsel fair, 

Then hold to me the empty spoon. 

I’ll read your fortune there. 

Katherine : I’m not afraid to do that. Here 
goes. [She follows the gypsy's directions. As 
she holds out the spoon, the gypsy takes, 
ostensibly from the spoon, but really from her 
sleeve, a folded paper.] 

Gypsy : 

Read it, maiden. ’Tis your fate. 

What's told on Hallow Eve 
By the Gypsy, comes to pass. 

Whether you laugh or grieve. 

[Katherine opens the paper and reads aloud.] 

Many suitors, old and young, 

Will you laugh to scorn, 

And get a crooked stick at last, 

The ugliest man e’er born. 

Maude: Oh, Kit Kat, what a come down, 
after all the predictions of the charms tonight! 

Laura : Hush, Maude, you might make her 
angry, and what might she not do to you ? 

Maude : Who, Kat ? 

Laura : No, the gypsy. 

Katherine: Let me try again. 

Hallowe'en book. 


Gypsy : 

Nay, thy fortune now is told; 

So ’twill surely be; 

But thy crooked stick will roll in gold, 

If that’s any joy to thee. 

Katherine: It is, thank you. Trust me to 
get the best of him and enjoy some of that gold. 
You try, Elsie. 

Elsie: I’d rather not. 

Gypsy : 

Ay, try it. Wherefore did ye come, 

If not thy luck to try? 

She who trieth not, fair maid, 

Within the year will die. 

Elsie: Well, you try it next, Maudie. 

Maude: Sure. “Em not skeered,” as Jake 
said when he ran away from the Jack-o’-lantern, 
“Eve just got the shivers in me jaw, and Em 
afeard my teeth will step on me tongue.” [She 
shuts her eyes, is led by the gypsy to the kettle, 
stirs, and holds out the spoon. The gypsy pro¬ 
duces a paper, as before. Maude reads.] 

Which to be? An old man’s darling, 

Or a young man’s slave? 

You’ll ponder long, then choose the first, 

And regret it to your grave. 

Elsie: What horrid fortunes! You try, 


Laura : No, you. 


Hallowe'en book. 

Katherine: Go ahead, Elsie. Third time’s 
the lucky one. [Elsie advances hesitatingly, and 
goes through the performance. She reads.] 

Tall and handsome, brave and good, 

Thy true knight shall be. 

He is riding o’er the world, 

Searching now for thee. 

Broad domains, a dukedom fair, 

He owns, across the sea. 

With him thou shalt sail away 
A happy bride to be. 

Laura: Well, that doesn’t sound like an old 
maid, does it? 

Katherine : Oh, she’s the lucky one, all 
right. Now you try your luck. It’s been old 
maid every time tonight. 

Laura: So it won’t be this time, you see. 
[She steps up, does as the others did, then 
reads :] 

A parrot gray, and an old black cat 
Before a fire I see, 

And a prim old maid, in rusty black, 

Alone is drinking tea. 

Laura : I shan’t be an old maid, so there. 

Gypsy : 

Dare not the gypsy to defy. 

Thy fate will come to thee. 

What, ho! Advancing through the wood, 
Whose forms are these I see? 

[Goblins advance to edge of wood, pause.] 



Gypsy : 

Advance. It is your right, my boys, 

Here in this wood tonight. 

Tis Hallowe’en, with all the joys 
In which you take delight. 

[Goblins advance, form semicircle around 
girls, or line in front of them, and squat down, 
facing them, after bowing to the Gypsy.] 

Katherine: What horrid creatures! What 
in the world are they? 

[Goblins rise, turn solemnly around once, 
then speak.] 


Oh, we are the Goblins of Hallowe’en. 

The queerest creatures that ever were seen. 

On mischief bound we scurry about, 

“And the goblins ’ll catch you if you don’t watch v>ut!” 

[They take one long stride nearer the girls, 
stop, squat again, then speak.] 

Goblins: You’d better watch out! 

Elsie: We certainly will. 

[Goblins rise, as before, stretch their necks 
toward the girls, then turn around, as before, 
and speak.] 


In mischief the goblins do dearly delight. 

We’ve got a lot planned for this very night. 

We’ll chase frightened maidens with laughter and shout, 
“And the goblins will get you if you don’t watch out!” 

[They take another stride toward girls, squat 
again and remark :] You’d better watch out! 


Hallowe'en book. 

[Whenever they say this line, they point at 
girls, and nod at close.] 

Maude: Kind of you to warn us, I’m sure. 
What particular mischief are you planning in 
our behalf ? 

[Goblins rise, turn backs to girls, then turn 
heads to face girls. Remain so a minute, then 
take a long stride, backzvard, of course, toward 
girls, then turn completely around, stretch necks 
toward girls, then, with a jump, bring themselves 
face to them again, which, of course, makes them 
appear as if looking azmy. They then turn heads 
toward them and speak.] 

Goblins : 

Look out for that you love the best, 

Be it jewels, or cats, or boys, 

They’ll disappear before your eyes. 

Without a bit of noise. 

When you miss them, you will know, my girls, 

They are ours, without a doubt. 

“And the goblins ’ll get you if you don’t watch out!” 

[ Take a stride toward girls, zvhich brings them 
quite near, squat, as before.] 

Goblins: You’d better watch out! 

Laura: We’re watching out, sharp; and we’ll 
thank you not to come any nearer. 

Gypsy : 

They’ll do no harm if you keep still. 

Don’t try to run away, 

For they’ll pursue and capture you, 

And spirit you away. 

Hallowe'en book. 


Maude : But they’re right under our noses. 
If they take another step this way, they’ll have 
us, all right. 

Gypsy : 

They will not harm you, I repeat. 

My spell on them is laid 
No harm within this wood to do; 

So do not be afraid. 

[Goblins rise, stretch necks toward girls, point, 
and speak.] 

Goblins: You’d better watch out, yes, you’d 
better watch out! 

[Goblins turn their backs to girls, slowly turn 
heads to look at them over left shoulder, then 

Goblins: The Goblins’ll get you! [Turn 
heads to front again, nod, turn to look at girls 
over right shoulder, then speak.] 

Goblins: You’d better watch out! [Turn 
heads to front, nod, turn them completely round 
to face girls, and speak.] 

Goblins: Yes, you’d better be a watching 
out. [Goblins turn heads to front. Then they 
march around Gypsy and kettle, and form -a line 
or semicircle near it, and sing.] 

Tune: Yankee Doodle. 

Ere we leave the Haunted Wood 
Upon our way a-roaming, 

We would sip the wicked brew 
Within the kettle foaming. 


Hallowe'en book. 


Give us each a potion strong, 

Just to try our mettle. 

Give us of the magic brew 
In the enchanted kettle. 

Gypsy: Come, then. 'Twill make your eyes 
bright and big, your ears sharp, and your brains 
cunning to plan mischievous pranks. Come taste 
the wonderful brew, my beauties. 

[Each goblin marches up, one at a time. Each 
time she stirs the brew, muttering unintelligible 
syllables, then takes it out in spoonfuls, which 
she offers to each goblin in turn. The spoon is 
really empty, but each makes a great show of 
blowing it to cool it, then sips it loudly, and 
smacks his lips loudly as he turns away, and 
the next comes up. When all have had a spoon¬ 
ful, they dance around the kettle again and sing.] 

Goblins : 

Oh, we can feel 1 the magic brew 
Within our brains a-steaming! 

It makes us think of things to do. 

Oh, wicked plans we’re scheming! 


Come 2 and taste the potion sweet 
In the enchanted kettle. 

’Twill put the mischief 3 in your feet 
And put you on your mettle. 

Elsie: No, thank you, we don’t care for any. 

1 Hold head on both sides, while rolling it from side to side. 

2 Beckon to girls. 3 Dance up and down. 

Hallowe'en book. 


[Goblins caper wildly around, then form two 
lines in centre, in front of kettle . Turn back 
to back, then march slowly to opposite sides, 
stopping to turn heads over shoulder once or 
twice, not all at once. When sides are reached f 
squat down there, facing centre.] 

Goblins on right: The goblins’ll get you! 

Goblins on left: You’d better watch out! 

All the Goblins: Yes, you’d better be a 
watching out! 

Katherine: We are a-watching out. 

Goblins: So are we! [Elves come tripping 
in, each makes a quaint little courtesy to the 
gypsy, as she passes, then trips on to place. They 
form two slanting lines in front of kettle, and 

Tune: The Campbells Are Cornin’. 

Oh, this is the witching, the wierd Hallowe’en, 

When Goblins and Fairies and Ghosts may be seen; 
When Gypsies and Witches brew wonderful potions 
To read you your fate on the future’s dark screen. 

Then Forest Elves come forth to play 
With Goblins quaint till the dawn of day; 

For when the moon sets and the eastern sky brightens 
The Goblins and Elves must all scurry away. 

The Elves of the Forest are out for a spree! 

We’ll dance and we’ll caper in wild, madcap glee 
For the wierd Hallowe’en is the one witching evening 
When we from our usual haunts are set free. 

[They form a semicircle in front of kettle, 
and stretch out hands to Gypsy.] 



First Elf: 

Give us a taste, Mother Gypsy, do. 

Second Elf: 

Yes, we all want a taste of the wonderful brew. 

Third Elf: 

’Twill fill us with life and lend wings to our feet, 
Fourth Elf: 

And help us plan mischief that’s wild and complete. 
Gypsy : 

Dance me something pretty, then you shall taste the 

Goblins : 

And then hurrah for mischief! We’re waiting here for 

[Elves turn, bow daintily to Goblins, then pro¬ 
ceed to execute the Elf Dance. This is done to 
music, preferably that of an unseen violin. The 
step may be a quick marching step, a skipping 
step, any simple dance step, or any two or three 
used alternately for the different figures. The 
letters refer to the diagram.] 


Fig. 1. March in two lines, to points I and 
K; down lines to J and L; then to C and D; 
then up sides to B and A. 

Fig. 2. March to I and K, then down slant¬ 
ing lines to N and M, crossing at O. In crossing, 
first the leader of one line steps over O, then 

Hallowe'en book. 


leader of other line, and so on, till all have 
passed. When N and M are reached, continue 
to J and L, crossing at P the same as at O. 

Fig. 3. March to C and D, up sides to B 
and A, then down diagonals to D and C, crossing 
at centre. March up sides to B and A, then, 
when one leader has reached B, her line halts, 
while other line marches along line A-B, till 
leader reaches I. 

Fig. 4. First line march down from B to 
centre, then on to C; second line from I to N, 
then on to J. First line should turn the point 
at centre, just as second turns that at N. First 
line turn at C, march up to B, on to K. Second 
line turn at J, march on to D, up to A. 

Fig. 5. First line march down from K to L, 
turning point at M; second line, from A to D, 
turning point at centre. First line march from 
L to C, then up to B. Second line, from D to 
A, waiting at A till first line reaches B. 

Fig. 6. Lines march to meet at E. First 
leader marches to O, turns completely around on 
this point, then on to T, while the second leader 
marches on to O. First girl whirls at T while 
second whirls at O, then second moves on to Q 
while third girl moves to O. First girl moves 
on to N, and third to T, while fourth moves to 
O, then second moves to M, and fourth to Q, 
while fifth comes to O, and so on, till there is a 
girl on every point of the diamond. Each girl 
turns on O, and as she does so, every girl turns 


Hallowe'en book. 

on her point. No girl turns until she reaches 
O. All need not turn the same way, but must 
turn completely round. 

Fig. 7. March around diamond till all are in 
same position again, then turn backs toward 
centre, and march up, simultaneously, to crosses 
on circle. 

Fig. 8. March completely around circle. 
Turn, face centre. Dance lightly down to meet 
at centre. 

Fig. 9. Join hands high, trip around, then 
clap hands, high, standing still, then run quickly 
around in a small circle, then down, singly, to 
F, half turn each way, and run on outline of 
circle up to E, where they pass off, half each 
way, and form semicircle around kettle. 

All Together: 

Now give us of the magic brew. 

We’ve danced a dainty dance for you. 

Gypsy [stirring] : 

Yes, come and taste, each one in turn. 

Be careful, or your tongues you’ll burn. 

[She gives them tastes as she did the goblins. 
They roll eyes, sigh, smack lips, etc.] 

Gypsy : 

Now run away. The night goes fast, 

And soon will Hallowe’en be past. 

[Elves run to points A, K, I, B. Two follow¬ 
ing each line, they run dozvn straight lines to 
D, L, J, G, then up sides to A, K, I, B, again. 

Hallowe'en book. 


Now, two following each line, they run to same 
points again, following these lines: A, IV, D; 
K, M, L; I, N, J; B, W, C. Be careful not to 
run into each other at crossing points. Next, 
all pass to F, and half run up each side of circle 
to G and H, where each is joined by a Goblin, 
and they run up, following circle, to E, where 
all pass in front of kettle, and run off platform, 
the last Elf pausing an instant to zvave hand, 
while her mate croaks out, “You’d better watch 

[As the Goblins join the Elves, all may sing 
out: “The Goblins’ll get you if you don’t watch 

Elsie : So that’s over! They were dainty 
little things, but I can’t say as much for the 
Goblins. Now let’s be moving. 

Laura : Moving where ? 

Elsie: Homeward, of course. 

Katherine: Oh, wait a minute. Let’s be 
sure there’s nothing more to be seen. We don’t 
want to miss anything. 

Maude: There’s the ghosts. 

Elsie [zvith a little shriek] : Where, Maudie? 
Oh, where? 

Maude: I’m sure I don’t know. 

Elsie : But you said, “There’s the ghosts.” 

162 Hallowe'en book. 

Maude: So I did, and you interrupted just 
then. I was only going to say that they were yet 
to put in an appearance. They sang of Goblins 
and Elves and Ghosts, and as we’ve seen the 
others, I thought perhaps we might see them 

Laura: But the Elves and Goblins we’ve 
seen weren’t real. 

Maude: Weren’t real? They seemed very 
real and alive to me, especially those mean little 
Goblins with their everlasting “you’d better 
watch out.” Do you think we’ve all been asleep 
and dreaming at once, or were they mere fig¬ 
ments of the imagination, like a pipe dream? 

Laura: What do you know of pipe dreams? 
Of course they were real, but they were only 

Maude : And how many people in our little 
town allow their children to parade in the 
haunted wood at this time in the evening? 

Gypsy : 

They were real enough, young ladies. 

They were real, beyond a doubt; 

And so are these—the Ghosts—who now 
Come gliding in and out. 

Speak not, if you’d in safety dwell 
When Ghosts are round about. 

[The four Ghosts enter, wringing their hands, 
and shaking their heads, despairingly. They 
ztander round the platform, erratically, sighing 

Hallowe'en book. 


and moaning. Occasionally one throws up its 
arms, and wails. When this has continued a 
sufficient time the Gypsy speaks. This Ghostly 
march allows of any proper variation to suit 
the hoys who personate the Ghosts. All need not 
do the same thing.] 

Gypsy : 

Come, ye disembodied spirits, 

Ye who wander fo and fro. 

Tell us now, upon what errands 
In and out ye .ceaseless ga 
Why not in your graves remain 
Peaceful, quiet, like the rest? 

Why go wandering o’er the earth 
Forever on a useless quest? 

[Each ghost advances fairly near the gypsy, 
hut not too near the girls, to tell his story, the 
others continuing their ceaseless ivandering. 
Each, as he ends, joins the others, and another 
speaks. They talk in hoarse, hollow voices.] 

First Ghost : I was a miser. I spent all my 
time counting over, and hoarding up, the money 
left me by my merchant uncles. I dared not 
trust it to the banks; I could not spare it long 
from my sight. I begrudged every coin it took 
to keep my body and spirit together. Oh, it was 
joy, to let the coins trickle through my fingers 
like falling water! It was bliss to pile them up 
in hundred-dollar piles! It was heaven to scrape 
it all up in one great heap, and brood over it! 
But alas, alas! Some one spied upon me, and 
robbed me of every coin! I spent the rest of my 



life wandering over the earth in search of it, and 
now I wander still, but never a glimpse do I 
catch of my great, my only treasure! [He wails 
and groans, and joins others.] 

Second Ghost: I was a beautiful maiden, 
high-bred, accomplished and haughty. Many 
suitors sought my hand in marriage, but I 
laughed them to scorn. And at last I fell in 
love with a poor, wandering minstrel. My 
haughty pride, however, would not permit me 
to be his bride, and he took poison, and died in 
my presence, while singing to me and my 
maidens. Not even then would I admit my love 
and grief, but hid it with a face of stone, and 
wedded a great king. I had power, now, and 
great wealth and honor; but I tried in vain to 
forget the troubadour. Now I am condemned 
to wander in search of true love, which I am 
doomed never to find. Ah, woe is me! Woe is 
me! [Wails, and joins the rest, wringing 

Third Ghost: I was a lover. My sweetheart 
was the fairest, daintiest maiden the sun e’er 
shone upon. Her wonderful golden hair hung 
in shimmering waves of light to her dainty, tiny 
feet. Her eyes were like bits of heaven itself. 
She was grace itself in all her movements, and 
my whole heart was bound up in her. She loved 
me, but alas ! another crept in between us—a 
handsomer one than I won her fickle little heart, 
which I had believed so true, and my heart froze 

Hallowe’en kook. 


within me, and all my morals, too. I slew him, 
the interloper! I took him with me on the long 
journey on which I started the very night I 
learned her unfaithfulness. But alas! I have 
lost him; and I wander still, searching again for 
him, to live over, once more, the ecstacy of that 
one swift blow. [Joins rest with a shriek.) 

Fourth Ghost : I was a villain! A deep, 
double-dyed villain! A cold-blooded murderer, 
who— [Laura suddenly darts forivard. The 
Ghost steps hack, but not quite quickly enough. 
With a quick jerk, she pulls the “pillow-case” 
from his head, exposing Bert.) 

Laura : I knew it! I knew only Bert Har¬ 
rington could roll his “r’s” like that! And you 
shouldn’t have used your pet phrase, “double- 
dyed villain” if you hadn’t intended us to find 
you out. 

Bert: Well, you’re a cute one, anyway, Miss 
Laura. But you were to find us out a little later, 
if you had not spoiled our little plot by your 
brilliant anti-climax. Might as well unveil, 
fellows, we can’t scare them any, now. 

Elsie: If you had, I should have fainted, I 
know. Who are the rest, and how came you 
all here? 

Katherine [as others remove caps] : Lew, 
Floyd and Phil, of course. Now, how came you 
here, in this unseemly apparel? 


Hallowe'en book. 

Phil : We came to Maude’s Hallowe’en 
party, of course, the same as you did. 

Laura: But you weren’t invited. 

Lew : Oh, yes, we were, and we knew much 
more of the plans for said party than did the 
three maidens who went to the house to try 
charms, and came to the Haunted Wood on a 

Elsie : Maude ! You knew! 

Maude : Of course. Do you suppose if 
Mother had not gone ahead, we should have been 
permitted to slip so easily out into the night, 
alone ? 

Katherine: Your mother? Oh, the gypsy! 

Gypsy: Yes, my dear, the Gypsy. 

Katherine: Well, if we weren’t well fooled! 
And who were the Elves and Goblins? 

Laura : And where are they now ? 

•Gypsy: Your little cousins, Elinor and Guy, 
both of whom have Hallowe’en parties tonight. 

Laura: Why, yes, I knew they did, but I 
didn’t know they were dress affairs, nor that 
they had been practicing for any such pretty 
entertainment as they gave us. 

Gypsy : They were delighted to come here 
a while. They have gone home now, under 



S* ; %/' ' 

^0 ° Jp "71 k 

H vV tf. 

^ % % 

v 9,1 V 

< 9 V ** **- * 

^ * - - * 

- .- v^ 


CY* - v * 

, 0 * ,.‘‘ -, 

*J.rS U 

n -oC^ ° iP vv 

.♦ A o *>^.‘ 0 * tt *. 

# Oj, *.»o’ 0 ; V 

s * * t- rr\ > y * 0 

V A V ► V S>% ^ 
Vv *■ ™ //Ao 

c,9 ,J ,y k o 'C 1 <B a'^'^ -* 

v °a -‘t * 

. . s* g v 'o^ 'o", * * .<\ ^ * 

° & * 

; °; ?y 

' <y ^ * 

*0 ™ O « X 

„ +t> <. 0 V • ♦ O <& o 0 « O „ 

* V* 9 * “ 

^* « *> ^ ,-v 

<A 0 * * c> v 

<9 * 7 *V 

» V & a. 

r\ ^ 

* * 0 0 ^° v •$* 


A. o. 

\ -a,* -st* « 

* by _ 

» » <LT CV i> 

* O. * 

V . * . 

^ o> 

O *'~rr>''.<$ 

, V c° 

". ^ 0* ^ 

; <j 5 ^ * 


*?' ^ ^ °o 

* vV "V .-&° .0 Lv ^ 

• • 

o 'o • * A 

o A v 0 ° - « „ A % , o« 

o 4 '®’ »c^ A ' c ± K <x>/r??^ * o • 

^ A c v xv^^mV- 4 S^M'-Tor. ^ A' o' 

o V 

4 O. 

i> ^ 

O v 

.• ^ 

• 0 ^ 

O u o J < 0 ^ rp* " • / 

.o* .:••- % 

* o>^. - 

* <0 ^ • 


0° % *••'■ s *’ 

• I**- V V t 

' % *< 

• W ; 

•»'W'i*" A ^ 3 o 

% <L V d> • ^ ^ 

- .. -' «6 r '• • »* A 

(V* «*•'** o " o 0 " ° « o'. r\ v • 

4 \/ ■•’ ^ A* cV^MlV. ^ « 

^ * o v . ‘ y r ’ ry: . ^ 0 

c5 ^ '•• V;^ } ' : '''', J * *9^ 4* 

^ ^ ***° A? ^ 

■ ^ y yy. > > ^ 

♦ ^ ♦ A Ra /Vi ° a v «* ^ 

c v ♦ 

J' < 

* a^'L - ° <0> ^ ® Y//W<S$ * A : 

<* ^ d ,\%v ^ 

< 6 * V 'o. * * A 
A ♦ «."♦ A % c o- 

y *, C° ♦W^,% ^ ,4* 

*. • **0* 'fe- 

<*y " 

** 4> ^ *- 

'4> *•''• <y °^ *°"° 

***<>-%> V *iv_'- o 

' ^^-•o A / 

°. v^ v , e 

c$ V 

. cO^ 'L -•• ^ 

$ • »■ 1 • J, ^ o <v c O " ® * ^ . 

«L q 4 k ML, ;. ^ c ;....../; • ^^4 

. . • * <6 

4 O. 

o V 

^O 1 


O M 0 

■ y y *•-’• y .. % *•« 

* ' ^-\ % *♦ *‘«8&s*- % 

, <C'V ° r; *1 a *“ VP ^ 

° c^> ^ 

* 4? & o v ; • Vv * A V 

% <LT ^ # 4 

' Jy ' c • ‘ * V s * 

• - ^o A % c o - 

c ♦y^>% ° or r 

JN ' A, 

,• 4°% 

»v^*/ \ v - 

'» ^ y •'-*•» ■> 

.\ ‘V. V /y^/k'o 

V 4\